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A SECLUDED CORNER IN THE GARDEN OF THE VILLA D’ESTE 


THE SPIRIT 
daa 

GARDEN 
bys? 


MARTHA BROOKES HVTCHESON 


WITH AN INTRODVCTION BY 
ERNEST PEIXOTTO 


Mllustrated with Photographs 


BOSTON 
THE ATLANTIC MONTALY PRESS 


a 5 ‘0d Ge 
SaaS RAEN t) 
12 ; : 


aaa 


COPYRIGHT 1923 BY MARTHA BROOKES HUTCHESON _ 
; ee . be is ne wh 


m ise 


\ 
i PRINTED IN THE UNITED | 


THE GETTY CENTER 
LIBRARY ; 


TO THOSE 
WITH A PROGRESSIVE SPIRIT IN THEIR CONCERN FOR THE 
FINE ART OF GARDEN MAKING 
AND TO MY 
LITTLE DAUGHTER 
WHO HAS ITS JOYS STILL TO DISCOVER 
THIS BOOK IS 
DEDICATED 


<i 
( 
| 
4 


INTRODUCTION f 


YW IQR AD 


Ir indeed gives me pleasure to write a short note of introduction to this admirable book 


\ 


by Martha Brookes Hutcheson, Member of the American Society of Landscape Archi- 
tects, — who will perhaps be better known in the field of landscape gardening under her 
maiden name of Martha Brookes Brown, — though such a note seems quite unnecessary 
in the face of her own excellent foreword. The pictures, too, which have been used among 
those in illustration of the well-known gardens that she has designed speak for themselves 
of her competence to write and to think of garden design, and sufficiently introduce her 
to her readers. 

Nevertheless, I feel that I should especially like to say a word in praise of the restrained 
tone and the sober spirit of her text, so free from the exuberances of many garden-books 
whose preoccupations seem to be, above all else, for color combinations, the massing of 
flowering shrubs, and the “picturesque features’’ and other excesses adored by horticul- 
tural gardeners. 

The author of this book, on the contrary, goes back to those basic principles that under- 
lie all true garden-making, the skeleton or bony structure upon which this art depends 
and which should be the first consideration in laying out a garden: its relation to the 
house; the adaptation of its plan to the conformation of its site; the due consideration of 
its various axes; the contrast of its gay flowers with the walls and hedges of green that 
should surround them and set them off, even as the painter contrasts the vivid color in his 
picture with the more sombre tones of the background. 

And this simile holds doubly true; for, in large measure, the art of landscape-gardening 
forms a part of and is closely allied to the other plastic arts. Has not sculpture always 
been used to enhance the beauty of gardens and people their fountains and bosky glades 
with nymphs and dryads? Do not the gardener’s shears shape and trim both tree and 
hedge to fit the forms created by the master’s mind? Are not the yew-tree and the cedar, 
the cypress and the box modeled and clipped to fit their architectural surroundings, even 
as the decorative sculptor fits his figure into a pediment or into scale with a balustrade or 


THE SPIRIT OF THE GARDEN 


cornice? And the tie of the gardener’s art to architecture is too obvious even to be men- 
tioned. 

It was thoroughly understood by the men who laid out our earlier American gardens 
that were patterned after the “gardens of intelligence” planned in France and England 
by Lendtre and his foliowers. Samuel Vaughan’s regular plans for the grounds of Mount 
Vernon with their walled enclosures and box-patterned beds, the gardens of the James 
River estates and of the homes about Charleston, all bear witness to this fact. " 

But unfortunately, these cardinal principles of gardening were quite lost sight of at a 
later period when our gardeners were more concerned with mid-Victorian ideas of natural. 
istic effects, containing so-called picturesque features that bore no relation whatever to 
the house to which they were attached nor to their own surroundings. And it is only 
recently that a small group of landscape gardeners, worthy of the name, has brought back 
our thoughts to a real consideration of design as applied to the art of garden-planning. 

To this group Martha Brookes Hutcheson belongs. Therefore I think that her book 
will be a most useful addition to garden literature and a helpful acquisition to the lover 
of gardens, both amateur and professional, and I predict that it will exert a real influence 
in the betterment of the art of landscape-gardening in America. For in it are embodied 
the true principles of garden design, as well as the proper uses of the green world controlled 
by the T square — all of which should give food for thought to anyone who is contemplat- 


ing the making of a garden. 
Ernest PErIxotTro. 


GarbDEN books exist in great numbers which give comprehensive and helpful planting- 
charts, color-schemes and lists of valuable varieties of plants. There is a deeper need in 
the larger conception of the underlying principles of comprehensive planning, and I have 
found, time and again, that this broader view-point has been earnestly looked for by 
many amateurs, to whom the fact is very clear that all the planting material in the world 
is of little value if a sense of such basic principles as may be realized by all is lacking. 

To take, for example, a planting which is needed in cutting across the end of a building 
where foreground planting is important: it makes little difference whether a dogwood, a 
tupelo, or a much despised ailanthus is used — the paramount consideration is the par- 
ticular outline which the selected tree will ultimately produce, and the rarity of the plant 
is of secondary consideration. For another example we may take the importance of the 
massing of color and heights in a garden, which must be judged in their proper relation to 
each other as they affect the garden as a unit, the exact varieties of flowers or shrubs being 
— again — of secondary importance. 

The keener insight becomes in the tastes and perceptions of property-owners in general, 
the greater will be the understanding of the need for fine planning, the realization of which 
is as yet very new in this country. An increasing ambition for gardens and the develop- 
ment of private places is growing apace, and with the undaunted energy and ease of adap- 
tation in the American temperament, it is not difficult to predict the dawn ofa far-seeing 
appreciation of all phases of the “ great outdoors’ such as has never existed. As a nation, 
we are just awakening to our wealth and our need for the conservation of our vast natural 
beauty with its amazing variety in scene and in plant life; and as individuals, we are slowly 
becoming conscious of the value of cultivated and esthetic knowledge in adapting to our 
home surroundings the good principles in planning which have been handed down to us 
from the Old World. The more we know, the more we will make use of the great variety 
in growth already ours, — now commonly ignored, — which might lend itself so wonder- 
fully to our crying needs. It is all at our very door. Gradually the wider vision will grow 
more and more general, and in its expression we shall be known, in years to come, not only 
as a nation of great acquisition but of great perception in our standard of this art. 


x THE SPIRIT OF THE GARDEN 


Having retired from years of active practice in the making of gardens, I take this op- 
portunity of outlining some of the principles which I have found are not generally under- 
stood in their true importance. I have been conscious for years of an ever-widening group 
of men and women who are quite alive to a finer standard in planting and who have an in- 
creasing desire for better gardens. This small minority are not yet satisfied with their 
accomplishments, and this very quality of dissatisfaction and the vision for a broader 
achievement mark them as apart from the general ay staes or majority, who in their. con- 
tented satisfaction, “* know not that they know not.’ ’ 

The technicalities which can only be known through professional training and cat 
ence are by no means dealt with in this book, its topics being only sufficiently touche y 
upon to arouse interest and insight in a broad conception of the creation and reason for 
various arrangements. The broader and more general this conception becomes, the 
greater will be the advance in our standard of fine gardens and general plantings. 

If in these pages some points are made which seem to ignore or belittle the many in- 
dividual triumphs in gardens which now exist, I can only beg of those owners to recognize 
their membership in a small minority, through whose leadership a better general standard 
will be formed. Every example of good planning and true beauty which exists today will 
go far toward establishing a greater knowledge in the achievements of tomorrow. 

A word of explanation is necessary in defense of the use of so many illustrations made 
from places or gardens for which I have been wholly or in part responsible as the land- 
scape architect. They have not been chosen because they are superior in any way as 
examples of points to be emphasized, but because they form an available collection of 
personally taken detail, which it would be impossible to procure in any other way. Their 
present use has been permitted through the courtesy of the owners, for which sincere 
gratitude is here expressed. I also want to take this opportunity to record my appre- 
ciation of the unfailing loyalty and encouragement of the many friends and clients who 
through their unchanging interest made the years fly by on wings of happy purpose and 
enabled the joy of “dreaming true.” 

Martua Brookes HutTcHEson. 


a 


Ais OF PLACES 


DOr DESWHOLLY OR IN: PART, BY THE AUTHOR 
AND ILLUSTRATED IN THE BOOK 


Undercliff 


Crowhurst 
Maudesleigh 
Headlands 
Sosiego 
Whitegates Farm 
Craigie House 
Welwyn 
Highwall 

Indian Neck 
Merchiston Farm 
Poplar Hill 
Oldfields 

Brick House 


The late Cuaries Heap (Present owner, 
Dr. James H. Lancasnire) 
Francis M. WuitTeuouse, Esa. 
Freperick S. Mose ey, Esa. 

The late CuarLtes Heap 
The late Mrs. Daniext Lorp 
Mrs. Henry MarQuanpD 
Miss LonGFrELLOw 

Mrs. Harotp I. Pratr 
Mrs. OLiverR AMES 

The late SrepHen M. WELD 
Wi.iiam A. Hutcueson, Esa. 
FreDERICK B. Pratt, Esa. 
Mrs. Rosert Bacon 
Anprew V. Stout, Esa. 


Manchester, Mass. 


Manchester, Mass. 
Newburyport, Mass. 
Westport, New York 
Lawrence, Long Island 
Bedford Hills, New York 
Cambridge, Mass. 

Glen Cove, Long Island 
Prides Crossing, Mass. 
Wareham, Mass. 
Gladstone, New Fersey 
Glen Cove, Long Island 
Westbury, Long Island 
Red Bank, New Fersey 


> 


II 


eu 


1V 


VI 


\ 
oh 


THE FLOWER GARDEN 


ILLUSTRATIONS FOR CHAPTER I| 


LHe IMPORTANCE OF AXIS 


ILLUSTRATIONS FOR CHAPTER II 


THE USE OF THE HEDGE 


ILLUSTRATIONS FOR CHAPTER III . 


ARBORS AND GATEWAYS. 


ILLUSTRATIONS FOR CHAPTER IV . 
GREENHOUSES 


WATER IN THE GARDEN 


ILLUSTRATIONS FOR CHAPTER VI , 


Ste) 
185 


ce Re Se TS Venn, Sih Ve S 


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nee = te ya ween 


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’ 


BosBo.tt GARDENS, FLORENCE ’ : : : ; 55+ 87 
Brick House : ; : : ; aos 
Craicige House . SPOT LO’ P1647 190s hs 157-158 
CROWHURST ; , 34° 45- oe 37+ 95+ 138+ 139+ 140- 192+ 193 
FLORENTINE VILLA, A ! ; ; 43° 74 
FONTAINEBLEAU . : : , : é : : mT OO 
Granapa, A GARDEN IN ; ; ; : : cteOtS 
Gates (miscellaneous) . ; D9 24 2126-198 129 = T41,-1485 149 160 
Happon Hatt. : , ‘ : , ; : : ‘ : see S 
Haprian’s VILLA ; ; : : ; d , : : 92+ 93 - 94 
Hampton Court : ‘ ' ; ; : : ; : ne TUS LO 
HEADLANDS : : ; : : : : . 189 
HicHWALL . , 2 ; : ; ; ADA Et te gO- 91+ 159 
Inpian NECK : : : : : vend 
Linpens, THE. ; ; ; : ‘ : : oe 64: van 66 - 67 
MAaAvuDESLEIGH 


44° 78+ 96+ 97- 98+ 99+ 100- IOL- 102+ 103- 130+ 131 + 132+ 133- 134+ 202 
Mercuiston Farm 

26+ 27+ 52-73- 89- 143- 144+ 145+ 146- 147+ 194+ 195+ 196- 197 

OLDFIELDS . : : ; : . 24+ 26+ 88- 160- 161+ 204- 205 - 206+ 207 


ILLUSTRATIONS 


OVERHEAD-PLANTINGS (miscellaneous) 
106+ 121+ 125° 127 -"14%s 160 «em 


Popiar Hit. : : : : : : eae } . Wao 
SOSIEGO : P PKihoe? 5 : 22+ 68- 134- 136-13 
Steps (miscellaneous) . ; : : : . 19+ 29+ 33 Maa 
Tay Manat, Inpia, THE. : : : : ey 3 ia 
TAORMINA . : ; : : . ; : : ; ‘19M 
UNDERCLIFF : . 11+ 20-21+ 22+ 23-70-71 - 122+ 123+ 124. Too.) tone 
VILLA ALDOBRANDINI . : : 60+ 61+ 62 
Vitta Arconati (Balbianello) : . 186 t86eer ga 
VitLA CAVALIERI ; : : ; : ; : : <r 
Vitis ConrTi : : : : é E : : : 

VILLA D’ESTE ; ; ‘ : 5 thte ie 

Vitta FaLconieri 5 SA co aa : : , ree 
Vitra Mepicr. eta a A sk 0 an 
Vitta PALMIERI . : s ; : 43° 110- 126- 161+ 209 
Vitta Rosazzi_. } ; : 5 : : 3 me 
WaTER-FRonTS (miscellaneous) .  . ; . ot Pe oO ene 
WELWYN. ' . (30% 31 + 32 -4RoMoOk Ears 


WHITEGATES Ect oums: F : ahd hee : ; Baan: 


: Gee aay 


THE FLOWER GARDEN 


A ARDENS are favorite spots the world over, The innate 
kal sense of man for generations has evidently craved some 
4] concentrated spot for the blending of all that goes to make 


eo up the beauty of the outdoor world in color, form, light, 


ae the play of the seasons ; the sound and sight of the birds and 
insect life; the opportunity for the intelligent and loving touch that the 
human being can lend to the arrangement of nature; the ceaseless play 
of imagination and realization of achievement and the centred interest 
in the home— where these meet together in the ever-changing beauty 
of our gardens. The larkspur is incomplete without the humming bird, 
the rose without the dew ; the evening primrose courts the twilight ; the 
subtle form of arrangement plays with the mystery of flower-form and 
outline ; and with this blending of those things which we all seek and love 
we find a peace in our gardens which other places seldom give. The gar- 
den is not only the exquisite playground of the home, but the resting- 
place of the spirit—the place of inspiration and promise, of tranquillity 
and intense personal claim, and we are held and inspired by it. 

To those who know this it is needless to say a word, for the garden 
spirit is in them, and all who possess it know it to be one of their greatest 
treasures, It has lived on and on for centuries and may well be counted as 


among the most civilized of our senses. The very history of ornament has 


3 


THE SPIRIT OF THE GARDEN 


sprung from the flowers themselves; for long before the origin of the 
lotus motif, which is the basis forso much Egyptian design, there must 
have been a keen love of the lotus. The acanthus leaf impressed its 
beauty on the eye and heart of man for generations before it was forever 
immortalized in the classic Corinthian capital. The cherry blossom, 
which one finds underlying so much in Chinese formal ornament and 
insignia, was but the offspring of the appeal of the exquisite form of chit 
springtime bloom. One finds all these proofs of the intense relation be- — 
tween flowers and the human being long before the Christian era, and our | 
growing interest in gardens at the present day is not surprising when such 
great variety in plants and ease of achievement, through transportation, 
have never before been known. 

Early in 1500 Sir Thomas More said: ‘‘ They set great store by their 
gardens. In them they have vineyards, all manner of fruit, herbs and 
flowers, so pleasant, so well furnished, and so fynely kepte that I never 
saw thynge more fruiteful, nor better trimmed in any place. Their studie 
and diligence herein commeth not onely of pleasure but also of a certain 
strife and contention that is between strete and strete, concerning the 
trimmings, husbanding and furnishing of their gardens, everye man for 
his owne parte. And verelye you shall not lightelye finde in all the citie 
anyethinge that is more commodies eyther for the profite of the citizens 
or for pleasure.” 

Madame de Sévigné wrote in 1671: “I do not know what you have 
been doing this morning ; for my part, I have been in the dew up to my 
knees, laying lindens. I am making winding alleys all around my park 
which will be of great beauty. If my son loves woods and walks he will 
be sure to bless my memory.”’ 


So the love for the outdoor effect is no new fad, no interest which has 


4 


THE FLOWER GARDEN 


sprung up in our minds of late. From the earliest times there were gar- 
dens, and the world is the better to-day for the touch of gentleness and 
calm they have given to all who knew them. 

Again, at a nearer date, in a letter from MatthewArnold to his daughter 
we find this delightful touch of the enthusiasm of autumn work: ‘You 
can imagine the relief with which I have been going about the garden 
this morning and planting. Numbers of summer flowers are still bloom- 
ing. The birds are happy in the open weather, and the sweet robins keep 
following Collis and me about as we open the ground and plant rhodo- 
dendrons.”’ We may besure he enjoyed the bloom of those plants a few 
years later with far more interest than he would have felt had Collis had 
the entire care. 

So let us all have gardens, for we shall be but following in the footsteps 
of those of past ages, and but expressing the love of the garden that has 
been in our hearts for generations. Above all, let us have a sense of seclu- 
sion in our flowered space, that the calm and peace shall in no way be 
broken. Here belong the song of birds and the hum of insects. When 
solitude is looked for, the garden is the place to which we naturally turn. 
Let it have cool, shaded places, where out of the summer sun one may 
steal to sit, and, with the sound of dripping water near by, see the brilliant 
flower-beds in their masses of gorgeous color standing out in the full 
sunlight, with the bees at work among them and the blue sky overhead. 
And let the garden be just near enough to the house to be part of the life 
of its inmates where they may go without effort, in the day or the even- 
ing. Does everyone know the garden in the half evening light, when all 
sharp outline is blended into one luxuriant composition of flower forms, 
paths, and fountain, held in a mass of green that is unlike that of day? 


And do we all know it by moonlight, when all green is gone and distant 


5 


THE SPIRIT OF THE GARDEN 


corners are lost in darkness, while perhaps a white evening-primrose 
opens its bloom to the summer night and stands pale and cool with the 
moon’s rays upon it, and its long shadow cast across the pathway? It is 
at these moments that our gardens are of unspeakable worth to us and we 
begrudge no care that has gone to their making. 

I remember a little garden in Normandy about the home of an old 
Frenchwoman, which gave me the feeling that it was the real setting of 
this little woman’s life. On high plaster walls, which made a perfect . 
background for the flowering elder outside, the peach trees were care- 
fully trained, their tiny green fruit the smallest kind of promise of the 
mellow peaches yet to come; the rose bushes, in the true French way, 
were clipped up the length of the stem and left to burst forth in all their 
unchecked beauty at the tops of the plants, At regular intervals these 
bordered the path — with low flowers growing in profusion under them 
—as a boundary to her regularly planted vegetable garden, which we 
found was her means of support. It was full of the light green leaves of 
lettuce and tall splendid round onion blossoms with their long stems 
holding them well in air; and near by the bright radishes she had been 
tying in bunches for the market lent a decorative bit of usefulness to the 
quiet place. She wasa perfectly happy self-supporting peasant woman, 
and I have never forgotten her look of delight as we admired her flowers 
and fruit. She bustled about in white cap and sabots, with a radiant 
smile, making us taste her lettuce and peas, and we went away with 
large bunches of roses in our arms and the garden spirit in our hearts. 

These little humble places abound in France and in England, too, 
where the love of the garden is keenly felt. At times we find their 
counterpart here in America, but much too seldom, for the nurseryman’s 
example of disconnected groups of miscellaneous shrubs has for years 


6 


THE FLOWER GARDEN 


been taking the place of true garden-making, and the simple flowering 
space, such a valuable part of the little home, seems often forgotten. 

In Massachusetts there is a garden which is so old and has had its own 
way for so long, that it has broken through its original bounds by the 
river and has wandered back into the orchard on one side and into the 
vegetable garden on the other, and so through its truancy lendsthe gayety 
of poppies to the melon patch and of morning-glories to the bean poles; 
and, to make the most of its independence and frolic, some campanulas 
find sheltered spots about the old apple-trees, But this flower garden can 
afford to have enough for itself and to spare, for at all seasons, from April 
We November, a wealth of color is found here. It is one of those places in 
which painters delight, with its masses of bloom — with wonderful high- 
lights upon them — where everything is growing in healthy abundance, 
with just enough haphazard self-sowing, and still not in uncomfortable 
confusion. Here in the autumn, when the touch of the night frost is 
beginning to change the colors on all sides, one may sit in the warm 
corner of the grape-covered wall with the asters and chrysanthemums 
_ still holding their bloom and the barberries growing redder day by day. 
Those October days! When every blossom is doubly dear, — for it is of 
the last, — when late pansies and sweet alyssum bloom in spite of frost, 
and when the long summer is all but gone, we begrudge each hour as it 
slips away, and agree with him who wrote : — 


The daughters of the year one by one 
Through this still garden pass, dance into light 
And die into the shade. 


To those last days we owe a thought in the planning of the garden, that 
there may be some bloom here and there as long as possible in the spot 
which has been full of color for so many months. 


To study the gardens of different periods, which were naturally af- 
| 7 


THE SPIRIT OF THE GARDEN 


fected by the fashions of their day, is not only interesting but instructive 
in many ways, for from them valuable principles are learned, and many 
of these may be applied to our more modern needs. The formality, for 
example, which is found in the old villa-gardens outside of Rome and on 


the Tuscan hills is of great interest, more for the lines on which they 


were originally laid out than for the flowers they may have contained, 


Many of them were planted so long ago that they are now but ghosts of | 


4 
their original plan, and the old stone-work is covered with moss that ~ 


softens every surface. In these places one comes unexpectedly upona 
glimpse of the blue sky overhead, reflected perhaps in some long basin of 
water at one’s feet, in which surrounding trees also are pictured, and 
the whole framed in a wealth of blue myosotis, growing luxuriantly in 
every crack and crevice of the fine old water-basin and glistening with 
the mist of spray upon it in the noonday sun. And again we may find 
some green bosket far off at one corner, so inviting a spot, apart in its 
shade and tranquillity, that to linger there is one’s impulse ; and yet to be 
again in quest of new discoveries, new treasures to be found, is one’s only 
reason for leaving. Here, about these old villas, are spots of seclusion, 
of quiet, of beauty, so near and so personal that one can never tire of 
them, never cease to wish to go back again and again; and if that may 
never be, the thought of them lives in our minds, and we are unsatisfied 
until we have created in our own land some other spot which at least 
breathes forth some of their satisfying expression, even if it has not their 
advantages of great age and tradition as a setting. The Italians appar- 
ently knew well the value of a shaded place lying in close proximity to 
one full of sunlight, each being related to the otherin plan. In many 
villas the space about the house itself is entirely in the open, but be- 


yond the gardens and forecourts a wooded spot is invariably introduced 


8 


‘ “ 


THE FLOWER GARDEN 


at an inviting distance, generally covering a considerable area, with 
walks laid out formally between the trees, where it is a relief to wander 
out of the sun and heat, and yet a pleasure to come back to the flower- 
ing space where all is brilliant and intricate in its upkeep. 

The elements to be considered in the planning of a flower garden are 
so many and so complex that it is a difficult task to outline the most im- 
portant ones, and yet it is essential that some general principles should be 
understood ; for through their insight, owners have in their control the 
opportunity for much more personal and beautiful gardens than are gen- 
erally found to-day. 

By taking up a few points in garden-construction it will be of value 
to see how most of the principles prove that the possibility of inter- 
esting garden-making lies in the hands of everyone who can grasp 
the vision of logical composition and fitness as they contribute to the 
eesthetic whole. 

First of all, the size and type of a garden are of great consequence in 
its relation, not only to the style of the house, but to its importance as a 
dwelling. An elaborate house, for instance, surrounded by a parterre over 
which one should pass before reaching the garden, at once creates—in 
its effect architecturally —the very note of formality which is needed. 
This treatment belongs to the general scheme of the house, and through 
its expanse and formality prevents the house from having the least sug- 
gestion of the cottage type. The garden, under these conditions, may be 
large and varied in the architectural features embodied in it. Intricate 
water-schemes, walls, peristyles, and loggias all belong here, as well as 
wall fountains and espalier fruits and bay trees, and its vastness and per- 
fection of detail will lend so finished a note that the limit of the house 


will seem to be reached only at the extreme end of the garden. 


9 


THE SPIRIT OF THE GARDEN 


On the other hand, in the more intimate form of home where the ar- 
chitecture suggests nothing of formality, we cannot bring the garden 
close enough. Whether it is laid out formally or informally, a simple 
garden near the house may creep up and look in at the very windows. Its 
accessibility in this case is a part of this house, and its closeness the ex- 
pression of personal care and interest. | 

The first formal lay-out has been borrowed in idea and sentiment from — 
important places, the second from the simpler homes, of the Old World. 
It rests with individual owners to decide which they will emulate; 
but whichever type is followed, the opportunity for the placing and 
treatment of the garden is of equal importance, In either case it must 
be made to look as if it had grown there in perfect relation to all about it. 

The second important detail in any garden is the main line of approach 
which connects it with the house, This main axis should lead up to some 
important point of a house, and in their relation one to the other the 
garden and the house should forma unit. To take advantage of every 
line of axis one can —if a garden lies in formal relation to the house — is 
to make the most of opportunity. In this way the vantage points of one’s 
garden are brought into the very make-up of the house itself when the 
garden is seen from within the house, and vice versa. When you enter 
your formal garden from its farthest gateway, your eye is led by the com- 
position of green in bay trees or cedars or hedge-lines and pathways to 
the formal trees on either side of the opposite entrance, and again, on 
the same line, through it to the architectural columns each side of the — 
doorway, and so to the very door itself. You have harnessed the scheme 
of the house to that of the garden, and by doing so have increased the 
charm of both and given a consistent reason to the whole affair, 

If you lead to an unimportant point in your house, the garden will 


10 


THE FLOWER GARDEN 


- PLAN-OF- 


ae 
= ——— 


ey 
os 


os 
Boy 


os. 


never suggest any relation to the home; the fact that the real «anat- 
omies,’’ so to speak, of the house and the garden do not hang together 
will create a note of discord. I have seen a garden of no small upkeep, 
~which actually led to a pantry window, and another which led to the 
abrupt corner of the house. It seems past belief that such lack of vision 
and sense of the rudiments of composition could be possible, but we 
find examples of this kind of lack of relation in surprising instances as 
soon as we look for them. They exist by the hundreds, and their owners 
are generally quite oblivious to them. It seems almost unkind to disturb 
such unobservant peace of mind by pointing out these mistakes, for 
when one does, the fault generally looms up in such distressing evidence 
that the alterations on the house or garden are planned for within the 
next twenty-four hours! 

While formal gardens, when properly treated, are always made in 


II 


THE SPIRIT OF THE GARDEN 


compliance with the rule of axis, the principle of proper relationship 
applies to the garden of less formality and even to the very informal one. 
The pathway which leads from the house to the rambling garden should 
be considered with such care that it seems to flow out from some vantage 
point of the house. An informal path can lead up with so beautiful and 
dignified a curve to the steps of a porch or the grape-covered arbor of a 
terrace that its importance is quite as great as the straight scheme on ~ 
which we enter the formal garden. If both approaches are carefully 
planned and planted, one is quite as attractive as the other, The deciding 
element in the choice lies with the architecture of the house, the lay of 
the land, and the taste of the owner. 

Illustrations of a well-planned spot are often less illuminating than bad 
examples; so let us think of small gardens that we have all seen which 
have been laid out on a portion of an existing lawn with regard to nothing 
which apparently joined them to anything else. They suggest the same 
relation to the house that a gay rug might if one placed it at random out 
upon the greensward. We have seen rectangular patches like this placed 
directly between the house and a wonderful distant view, which should 
have had as its foreground so simple a treatment that nothing could 
prevent the eye from taking in, as one unbroken stretch, the space be- 
tween one’s very foothold and the distant horizon line; and yet we find 
all too frequently a rectangular patch called a garden, —sometimes 
small, sometimes of great extent, —deliberately placed with regard to 
nothing but itself, with no connecting relation to the house, with no re- 
gard to the country about it, an utter blot on the face of the earth, a 
stamp of the lack of feeling and perception on the owner’s part, a mean- 
ingless spot which is a bad example to everyone who sees it — except to 
him who has the eyes to see in it a good example of a bad thing. 


12 


THE FLOWER GARDEN 


Then comes the third important detail, in the opportunity of going 
from scheme to scheme, For example: suppose one has a fine wood, not 
very far off, which would make a delightful flanking for a formal garden 
on one end, yet this wood is just too far away from the house to make 
the garden extend from it to the house. One might feel a choice must be 
made in the garden between proximity to the wood and proximity to the 
house. Suppose the charm of the wood prevails: one cannot resist the 
temptation of making its deep shade come in close relation to the sunny 
brilliant space filled with flowers, and the decision is made to go toward 
the wood-line with the garden. It is not a bad choice ; but two technical 
obstacles have been run into which must be surmounted. First, one of 
the hardest, though most interesting, things to do is to create a beautiful 
transition betweenan edge of woodland and a gardenadjoining it. Second, 
how can so thoroughly artificial a spot as a formal garden be introduced 
when no formality exists around it? For formality must spring from 
formality. 

An architectural note from which the garden-plan can spring must 
therefore be created. For that note, then, go back to the house and 
use some detail there as a starting-point ; create from this some simple 
though formal green-treatment, like a hedge-enclosed parterre of green 
turf, and from this — going through a gateway which conforms to the 
same house-detail as an axis, and working always toward the garden- 
site — go into another level of green, which might be made quite shady 
by vine-covered arbors surrounding a tranquil pool. From this, go 
through an orchard which is again planted to conform to the axes of the 
house and garden, and enter your garden here. In this way the two difh- 
culties have been overcome in tying the garden by a succession of related 


approaches to the woods and the house; and yet the garden is related to 


Fee) 


THE SPIRIT OF THE GARDEN 


its surroundings and no larger than necessary. By still further treatment 
the garden can be blended into the wood-margin by paths which con- 
tinue into the cool green growth, following the formality in path-treat- 
ment or not, as the place suggests. 

We seldom tie things together enough. Going from one enclosure or 
scheme, so to speak, to another —though each may be very simple —is 
much more interesting than the planting that is realized at a glance, and 
the combinations of arrangements to make things seem involved and 
mysterious are never-ending. Variety can be made within the actual 
garden by dividing it into different sections. The entrance, for instance, 
hedged off from an intermediate terrace-section, from which we look 
down into a central garden: from this we may pass through arches, and 
gates in low walls, and slight steps, to a rose garden, or the approach to 
a tennis court, or anything which gives the excuse for still another 
outdoor enclosure. The reasonable complexity of a garden makes it 
inviting. 

And here we come toa fourth great detail, one that we can never afford 
to cease to search for or make excuses for: the natural rolling of land, 
which gives us the chance for limitless effects and uses through the 
change of levels. They are as important as any other feature through 
which we get variety and surprise. 

Through the use of steps we not only solve practical problems toward 
making the impossible quite possible, but we add enormously to the 
picturesque in what we are creating, and find another opportunity for 3 
added composition. If the difference in grades is great enough we can 
have vine- or fruit-covered walls. Where would Italy be if her gardens 
were robbed of walls and steps? One can have little steps, four inches 


only in rise, with long stretches of path between ; one can have groups of 


14 


THE FLOWER GARDEN 


steps with green shrub-plantings about them. Then there are the small 
masonry-steps, with their sides well covered by vines, and —in impor- 
tant, formal gardens —splendid flights of steps, with landings and bal- 
ustrades ; and these, when well treated, are as important as any part of a 
whole garden. Sometimes we have but the slightest fall in grade to work 
with, but one foot is better than nothing in the difference between a 
garden and the approach leading to it. This gives two shallow steps 
down, of six inches each, and with a slight wall in addition rising up, 
the effect of the garden becomes that of a place apart. You have changed 
your level of approach; you have gone down two slight steps — though 
they may be very broad —and you have entered another place. You are 
in the garden! 

We do not stop to think of all this, but we unconsciously feel it. Is n’t 
intimacy gained in this way? Alas, how many flowered places have 
but one level! How their entire story is told in one sentence. How 
limited are the backgrounds they furnish for scenes they might hold. 
How meagre are they in the attributes of a real garden! 

For our fifth detail of importance, we now come to the green used in 
the construction of gardens. It is this that gives us our backgrounds, 
our contrasts, our proportions, our perspective — above all, our shadows. 

All gardens need plenty of green with varying amounts of color. Most 
gardens have too solid a mass of color and too little well-planned green. 
The informal note in them may be the flowers in their airy growth and 
beauty of outline. The larger notes of shrubbery are what form the 
constructive garden-planting, and these should be under perfect control, 
whether they are clipped in shape or of an informal growth. 

Too much green and few flowers is a better fault than too much bloom 


and little green. Many plantings are merely thick mats of flower-bloom 


oe 


THE SPIRIT OF THE GARDEN 


arrangement in geometrically planned flower-beds. The heights vary 
only with the flowers planted, and while they may reflect credit on the 
skill of the gardener in flower culture, they lack everything else. The 
owners have had the opportunity of making their gardens places of rest- 
fulness and pleasure to those looking for a picturesque and livable quality, 
but having been blind to possibilities, have merely produced a spectacle 
with which the uneducated eye only is pleased, because no sense is ap- 
pealed to but the crude love of a massing of color. 

If the same amount of labor had been guided, the importance of having 
the flowers offset by taller greens to emphasize their outline would not 
have been overlooked, The garden would have been approached with 
some taller growth of shrubs or even old trees for its foreground, and a 
really beautiful enclosure would have been made of it, full of the sense of 
graceful boughs overstretching the paths, or of deep recesses of black- 
green Shadow making some of its pathways seem invitingly cool and 
secluded. 

Small trees in gardens, like dogwood, magnolia, thorns, and labur- 
num, give but a short period of bloom; their importance lies in their 
giving foreground and outline and style and age, and they play an im- 
portant part in the values of light and shade. The dense shadows of our 
gardens we get from green growth. The emphasis of our pathways we 
get from clipped margins of green turf or hedge, and from our bay trees 
which flank them. Our seats are given inviting seclusion by their back- 
ground of green hedge. The tranquillity and dignified expanse of open ~ 
spaces of greensward in our gardens we gain through our closely cut 
green turf. 

Green is needed just as much as color, only it should always be kept 


well within bounds and control. 


16 


THE FLOWER GARDEN 


And now we have established our garden with relation to the house, 
its approach through schemes of different treatments, its walls, and its 
steps and paths with various levels. It has clipped hedges and formal 
evergreens, interspersed with carefully placed notes of the small tree- 
growth, and with great trees standing about it and beyond it to make it 
look thoroughly established in its environment. There are comfortable 
shady seats, which are placed where we can hear and see the dripping 
fountain or reflections in the still round pool, and there are arbors to pass 
through, and bird baths, and a dial, and greensward leading to gateways 
and hedges. 

When this is ready, to this creation is added that final gay and God- 
given expression of exquisite sprightliness and variety —the flowers! 
Their part is too subtly beautiful to try to describe. The whole setting of 
the garden has been created to receive them, and they come and go in 
their fleeting succession of bloom in this established setting, with a cer- 
tainty and accuracy of beauty which is a miracle, ‘They have arrived to 
enter into their parts and play them charmingly in the drama of the gar- 
den. The foxgloves in their season will fill a certain corner in their spe- 
cial place in proximity to the high box and taller lilies. The yellow roses 
and trumpet vine have their steps and walls to cling to, and columbines, 
when they grow ina half shady corner with some gray stone-work and 
yew or pearl-bush leaves near by, will not want to stop blooming when 
their part should end, that later flowers might occupy the stage. 

So the flower garden, as our ideal of it expands and our need of it be- 
comes more real, is a place to go to and stay in— not a place to observe 
and pass through, or a mere cutting-ground for bloom. It isa part of the 
house which, without the limit of roof or walls, is still encompassed by 


enlightened planning. In our opportunity for the blending together of 
ih 


THE SPIRIT OF THE GARDEN 


the laws of architecture and of the plant world, and by using and know- 
ing the secrets of both, we shall make more and more wonderful gar- 
dens. We do not want vastness and pomp alone; we want detail, and 
mystery, and variety ; above all, we want surprise in our gardens, These 
are the elements which go to make the true garden-spirit, which really 


appeals to the human heart —and that is what gardens are for, 


18 


SICILY 


<i 
q 
= 
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Oo 
=< 
i= 


he 


. SHE AXIS: By PAGE 11 


E 


iy 
= 
OD 
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(ea)} 
a 
Z, 
= 


SHOWING USE OF LEV 


UNDERCLIFF 
SHOWING USE OF LEVELS. SEE AXIS 


21 


C, PAGE 


SOSIEGO 
USE OF ITALIAN OIL JAR AS POINT IN LINE OF AXIS 


UNDERCLIFF 
FROM A SIDE PATH OF THE GARDEN. SEE PAGE 11 


a2 
= 
4 
O 
a 
fQ 
la 
Z 
D 


XIS C, PAGE 11 


SEE A 


EN 


SHOWING APPROACH TO GARD 


203 


‘ee 


BO OMe 


OLDFIELDS 
A TERRACE ADJOINING THE GARDEN 


OLDFIELDS— 


TEMPLE D’AMOUR SEEN OVER THE WATER BASIN THROUGH THE CENTRAL AXIS 
OF THE GARDEN 


SES 


agin ieee 


OLDFIELDS 
DETAIL OF TEMPLE D’AMOUR 


MERCHISTON FARM 


THREE PHOTOGRAPHS ILLUSTRATING THE POSSIBILITY OF BRINGING A BUILDING 
DOWN TO GRADE IN EFFECT WHERE ALL OR PART OF THE FOUNDATION IS IN 
EVIDENCE. THOUGH EIGHT FEET IN HEIGHT OF FOUNDATION ARE PLANTED OUT 
WITH SHRUBS AT THE SOUTH END OF THE HOUSE, THE CENTRAL PORTION IS 
BROUGHT INTO INTIMATE GRADE RELATION WITH THE ORCHARD LEVEL BY 
THE INTRODUCTION OF BROAD ROUGH STONE STEPS AND TURF APPROACH 
BETWEEN THEM. THE TWO NECESSARY RETAINING WALLS BOUNDING THEIR 


SIDES ARE CONCEALED BY SHRUBS PLANTED IN MASSES IN THE NATURAL 
GRADE 


MERCHISTON FARM 
A NEARER DETAIL OF THE PLANTING AND TREATMENT 


SHOWING GRADE TO BE CONSIDERED 


ka 


VILLA DES TE 


MAIN AXIS THROUGH HEDGES, STEPS, AND TERRACES TO CENTRE OF PALACE, 
WATER BEING INTRODUCED ON SEVERAL LEVELS 


TAORMINA, SICILY 


THE HEDGE IS OF LAVENDER, WITH LITTLE TUFTS LEFT AT REGULAR INTERVALS 
FOR ORNAMENT AND FOR BLOOM 


TAORMINA, SICILY 
SMALL PRIVATE MODERN GARDEN 


+ § 


WELWYN 


“A PLACE TO STAY IN— NOT TO PASS THROUGH ... NOR MERELY A CUTTING- 
GROUND FOR BLOOM” 


WELWYN 
ILLUSTRATING THE INTEREST GAINED BY GOING DOWN INTO A GARDEN 


re a ee ee ee ee 
31 


WELWYN 


ILLUSTRATING THE EFFECT GAINED BY ONE FOOT IN GRADE BEING PLANNED 
WITH TWO SLIGHT STEPS, OF SIX INCHES EACH IN RISE. SEE PAGE 14 


WELWYN 


DETAIL OF LOW PIERCED-BRICK GARDEN-WALL 


HADDON HALL, ENGLAND 
THE USE OF STEPS JOINING TWO TERRACES 


WELWYN 


AN INTIMATE SIDE-PATH IN THE GARDEN, ILLUSTRATING THE ADVANTAGE OF 
A LAVISH USE OF GREEN IN ITS COMPOSITION 


CROWHURST 
A CORNER OF THE GARDEN WHERE IT JOINS THE WOODLAND 


INFORMAL TREATMENT OF ROUGH STEPS, AMPLE WIDTH BEING 
ALLOWED FOR THE OVERHANGING GROWTH OF SHRUBS OR VINES 


CROWHURST 


POSITION OF TERRACE GARDEN, ABOVE NATURAL WOODS BORDERING THE 
MANCHESTER COAST 


4 4 i Y : : 
: y : ee : Cry. a 
CROWHURST 
APPROACH TO GARDEN FROM LEVEL BELOW IT 


THE 


CROWHURST 
GARDEN WHICH “CREEPS UP AND LOOKS IN AT THE VERY WINDOWS ” 


36 


TWO DETAILS OF THE GARDEN AT CROWHURST 


VILLA ROSAZZI, GENOA 
DETAIL OF THE GREEN PATH WHICH CONNECTS SEVERAL LEVELS OF GARDENS 


MARGINAL TREATMENT OF STEPS WHICH OBLITERATES ALL HARD LINES BY THE 
USE OF OVERHANGING VINES 


VILLA ROSAZZI, GENOA 


WHERE A GREEN PATH WINDS UP AND DOWN A STEEP HILLSIDE, MAKING NUM- 
BERLESS POSITIONS FOR ORNAMENT AND INTEREST. THIS TEMPLE D’AMOUR 
COMMANDS A WONDERFUL VIEW OF THE SEA IN THE DISTANCE 


POPLAR HILL 


GARDEN STEPS, SHOWING MAINTENANCE OF PROPER VINE-GROWTH, NO 
ARCHITECTURAL FEATURE BEING HIDDEN 


POPLAR HILL 
APPROACH TO GARDEN FROM ABOVE 


FOPEARREIIL 


TAKING ADVANTAGE OF ABRUPT GRADE TO MAKE THE STEPS THE IMPORTANT 
FEATURE OF A GARDEN 


POPLAR HILL 


DETAIL OF BALUSTRADE AND STEPS LEADING FROM UPPER 
LEVEL TO THE FLOWER GARDEN 


a 


A GARDEN HOUSE NEAR FLORENCE 


-MAUDESLEIGH 
THE DIAL 


II 
THE IMPORTANCE OF AXIS 


A | house or to other parts of the formal outdoor planting. The 


S| importance of axis does not seem to be understood well 
enough by the average person. It is so vital in construction that the at- 
tention even of children should be so directed to good examples of its use 
in landscape design or architecture (and likewise to the missed opportuni- 
ties), that at an early age the coming generation may be trained to see 
this underlying principle, without which the grandeur and symmetry of 
all great planting and architectural treatment here and in Europe will be 
unappreciated and only half seen. One finds masterly uses of axis at every 
turn in Europe. Striking examples of its importance are, for instance, 
found in the long vistas and consecutive treatment of plantings in Ver- 
sailles, the Villa d’ Este, in the lay-out of Paris, or at the Taj Mahal of 
India. Our national capital, Washington, might have been a more far- 
reaching example of fine axis-arrangement in this country if the plans of 
L’ Enfant, the eminent landscape architect of George Washington’s day, 
had been adhered to in full. L’Enfant was naturally influenced by 
Lenétre’s work and by the examples of fine planning in Europe. 

The infringements which were constantly made in Washington upon 
the great plan of a Mall, in the placing of important buildings and open 
spaces in relation to each other, is of too common knowledge to need 


reference. The blind indifference to this fine art in the past hundred 


AY, 


THE SPIRIT OF THE GARDEN 


and fifty years has left unchecked liberty for those who were ignorant of 
what went to the making of beautiful cities, and the L’ Enfant plan for 
Washington was entirely disregarded until the Park Commission of 
1go1, appointed under the influence of Senator McMillan, started the 
heavy task of bringing the public as well as the Mall back into line. To- 
day the Commission of Fine Arts—the direct heir of the 1901 Com- 
mission — has the purpose in hand of preserving the Washington plan 
from further encroachments. 

We may be proud of the fact that Washington is being protected from 
the vandalism of ignorance and greed, and we see appearing, as if by 
magic, consecutive and imposing treatments of axes which are based 
on the mighty and beautiful law of logical sequence between one point 
and another in the relation of architecture and planting. 

The most recent achievement is the Lincoln Memorial, which has 
been placed in absolute relation to the dome of the Capitol and the 
Washington Monument, through a line of axis on which is established 
the great reflecting basin of water, flanked by a tree-bordered vista of 
great length and generous, masterly proportions, The exact centre of the 
dome lies in relation to the centre not only of the Lincoln Memorial, 
but of the basin and of the vista by which the two great national struc- 
tures are connected. This logical tying together of the country’s Capitol 
with the building which expresses the memory of Lincoln’s great spirit 
is made very real to everyone who has the vision to see in it that magic 
line of axis which starts with the centre of a prominent building and. 
ends far off in another all-important point of an equally prominent one. 

The masterly handling of this principle — found all over the world 
where knowledge of planting in relation to architecture has had its 


place — holds our interest as no informality of treatment can ever do, 


48 


THE IMPORTANCE OF AXIS 


This quality of fascination is in no way dependent upon size alone. The 
same law of dignity and balance which holds in the Lincoln Memorial 
in Washington, or the Place de la Concorde in Paris underlies the rela- 
tion through axis between a house snl its garden or a street entrance, 
the intervening dooryard, and the house door. The proportions are dif- 
ferent; but the mesmeric influence of balance in sequence and logical, 
picturesque arrangement is under the same great law, In creating formal 
places we build on the major aXis or axes, and on definite minor 


axes which lie in relation to them, and like all great principles, we 


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find that their influence, in small ways as in great, is marked by 
unchanging truth and value. A picturesque arrangement out of doors 
is seldom successful unless the law of axis and balance is evident 
enough to make the superimposed informal detail enhanced by it. 


Far be it from me to give the impression that informality is to be 


49 


THE SPIRIT OF THE GARDEN 


done away with and that treatment of anything should be stereotyped 
and handcuffed in formality. The formal underlying construction 
should be more commonly understood as something on which to play 
with our informalities of beautiful, unexpected, green growth. For- 
mality is by no means gaunt or bald. It can pierce green woods in 
paths, and add dignity and beauty to every upright tree-trunk or fern 
which borders them, It can use a distant mountain, by bringing it in re- 
lation to a terrace by a judicious clearing, and yet leave every tree-branch 
which frames the distance in balanced, exquisite outline. We have all 
seen slashes cut through woodland to gain an outlook, with no sense of 
the value of the middle ground or the ruthlessly destroyed intermediate 
growth asa frame or setting. The foreground coming in sharp relation 
to a distant view always makes it farther away in composition. The 
introduction of intermediate detail at one distant point, or at varied 
positions in perspective, draws out the scheme and makes the final pic- 
ture — which is the objective point — not only more picturesque but far 
more interesting in its illusive distance. The arrangement of an axis 
should never be barren and unimaginative in the incidental treatment 
along its length, but the objective point and its relation to the starting 
point should not be interrupted. Itis the maintaining of this principle 
which creates the line of axis. 

In establishing this relation between plantings and buildings to the best 
advantage, too much emphasis cannot be given to the necessity of estab- 
lishing collaboration between an architect and a landscape architect in } 
the very first planning and placing of a house and itssurroundings. There 
are parts of the house which essentially belong to the garden and parts of 
the garden which are as essentially parts of the house, and there is no 


separating them if a successful scheme of the whole is to be realized. For 


50 


THE IMPORTANCE OF AXIS 


a landscape architect to add a garden or terrace treatment after an archi- 
tect has finished the house is always to make the most of a patched-up 
undertaking, and the great axes and most valuable points in correlation are 
impossible to create at their best. The two minds should work together 
while the project is still on paper, each foreseeing in his own undertaking 
the fullest outcome of perfected detail, which calls distinctly for the two 
professions, For an architect to ignore this point and to establish the gen- 
eral scheme of outdoor arrangement in terraces, garden design, and so 
forth, trusting to a planting being made later by someone who is willing 
to fill out his half-accomplished work, is unfair to the owner, who too 
often never realizes how great an opportunity is lost. To the person who 
is to create the very composition of the planting should belong the 
creation of the original composition of the outdoor treatment. This 
cooperative planning of a successful undertaking may easily be looked 
“upon as the overlapping or common ground of the two professions. 
The fact that so often this is overlooked, and an architect holds the 
whole undertaking in his hands up to the point where he must call in 
a nurseryman— who will do the planting according to his untrained 
suggestion — is due to ignorance of the public concerning what an 
architect should not undertake, and what they should look for in a 
landscape architect, if the fullest opportunity of any undertaking is to 
be seized. The door of a house opening upon a terrace, which again by 
a flight of steps drops to a garden, is a point of decision which belongs 
to two minds, The door and steps and their planting are just as much a 
part of the garden as of the house, and the original decision should be 
made simultaneously in the treatment of the entire scheme. The cedars 
and distance through a gateway lying beyond the flowered terrace and 


water pool have just as much bearing on the door through which they 


Ly 


THE SPIRIT OF THE GARDEN 


are seen as the interior house-treatment has in its relation to the same 
door. To take this door —for the sake of example—as a vantage 
point, is to show it as absolutely part of both the architectural- and the 
planting-detail. You cannot divorce it from either. Or suppose you 
have a fountain so symmetrically placed in the garden that it is seen 
through the open door from the interior of a library, Is it not as much 


a feature of the library embellishment as it is of the garden? 


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These facts, when realized, seem simple enough, but it is amazing to 
find how seldom they are planned from the start. It is this knowledge of 
the value of axis that is as essential to good landscape-gardening as it is to. 
good architecture. The Italians of the Renaissance were past masters of 
this principle, as numberless villas testify. Instead of outdoor arrange- 
ment being uninvolved when related to the home, no matter how simple 


it may be, it should be involved and interrelated in just as many points 


52 


THE IMPORTANCE OF AXIS 


and with as many logical sequences as can possibly be thought of without 
becoming confused, If it is confused, it is badly proportioned or 
planned. 

The art involved in garden design requires technical knowledge as 
well as vision. We shall not have the beautiful and masterly gardening of 
Italy, France, and England in this country until we become more keen 
in our perception of the underlying anatomy of the plans upon which 
our fine plantings and placing of buildings are based. Never was the say- 
ing that ‘fools rush in where angels fear to tread’’ more applicable than 
in the vandalism of self-confident yet ignorant owners, who make mean- 
ingless and ill-advised arrangements in placing of buildings and in their 
plantings. The same effort and expense, whether simple or elaborate, 
would go further if a clearer conception of construction were more 
common, and a realization that—apart from the knowledge of the 
beauty of individual shrubs and trees — there is much to be learned in the 
underlying principles of the art of using them well. The greatest law 
involved as a starting point is that of the line of axis and a more pictur- 


esque treatment of it in relation to the problem asa whole. 


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A MAJOR AXIS 


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AN INTIMATE AND INTERESTING GARDEN IN THE MIDST OF A 


GROVE OF OVERGROWN TANGERINES 


AND SEATS. 


WHITEGATES FARM 


A BROAD MARGIN OF TURF, INCLUDING TWO ROWS OF APPLE TREES, LIES 
ABOUT THIS GARDEN ON THREE SIDES, THE HOUSE BEING ON THE FOURTH 
SIDE. THIS FORMS AN ENCLOSURE BORDERED ON ONE SIDE BY THE LOW 
GARDEN-HEDGE AND ON THE OTHER BY A LOW STONE WALL, PIERCED 
BY GRILLE GATES OPPOSITE THE GARDEN PATHS. THE APPLE BOUGHS APPEAR-— 


ING BETWEEN THE EYE AND THE GARDEN PROPER, SEEN FROM THIS OUT- 
LYING GREENSWARD, MAKE VERY INTERESTING AND VALUABLE NOTES IN 
FOREGROUND COMPOSITION, NOT ONLY AT THE PERIODS OF BLOOM AND OF 
FRUIT, BUT IN THE VERY FORM OF THE GNARLED BOUGHS THEMSELVES 


SOSIEGO 
ON THE MAJOR AXIS OF THE GARDEN ENCLOSURE 


WHITEGATES FARM 
ANOTHER EXAMPLE OF THE FOREGROUND GAINED BY APPLE TREES 


WHITEGATES FARM 


THE GARDEN, AS WELL AS THE HOME, WAS PLANNED ON THE EXACT AXIS OF 
AN APPLE ORCHARD. THE VISTAS FROM PATHWAY OPENINGS BEING IN CON- 
FORMITY WITH THE SPACES BETWEEN THE APPLE TREES, COMPOSITIONS IN 
DISTANCE ARE POSSIBLE THROUGH EACH GRILLED GATEWAY 


Scie a 


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VILLA ALDOBRANDINI 
NEARER DETAIL OF PAGE 61 


VILLA ALDOBRANDINI 


ILLUSTRATING AN IMPORTANT AXIS RUNNING FROM THE BANQUET-HALL 
ACROSS THE FORECOURT TO A WALL FOUNTAIN WITH WATER CASCADES ABOVE. 
SEE PAGE 62 


61 


VILLA ALDOBRANDINI 


THE RUNWAY FOR WATER FROM THE RESERVOIR ABOVE TO THE SUCCESSION OF 
CASCADES SEEN ON PAGE 61 


THE LINDENS 
SHOWING AXIS BETWEEN STREET GATE AND HOUSE DOOR 


E 63 


THE LINDENS 


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THE LONG AXIS, STARTING WITH THE GATEWAY (SEE PAGES 63 AND 64) AND 
EXTENDING THROUGH A SEMISHADED GARDEN WITH OLD EVERGREENS 
ABOUT IT, AND THROUGH A LONG FLOWER-GARDEN PATH BEYOND 


THE LINDENS 


FROM THE LONG FLOWER-PATH, LOOKING BACK TOWARD THE HOUSE, 
THROUGH THE SEMISHADED GARDEN SURROUNDED BY EVERGREENS, SEE 
PAGE 65 


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FROM THE DIAL TO THE DOOR AT THE BACK OF THE H 


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VILLA CAVALIERI 


SEAT OF THE KNIGHTS 
OF MALTA 


AN INTERESTING ILLUSTRATION SHOWING THE IM- 
PORTANCE OF AXIS MADE BY PLEACHED ALLEYS, 
WHOSE OPENINGS CENTRE ON THE DOME OF ST. 
PETER’S, FAR AWAY ACROSS THE CITY OF ROME. 
(THIS IS DISCERNIBLE IN THE FIRST ILLUSTRATION ; 
IN THE OTHER, THE CAMERA FAILED TO INCLUDE IT.) 
THE AXIS IS EFFECTIVE IN MAKING A BALANCED 
AND COMPLETE COMPOSITION, SEEN THROUGH THE 
KEYHOLE OF A GATE WHICH OPENS UPON THIS SHADY 
PATHWAY 


THE TAJ MAHAL, INDIA 


UNDERCLIFF 


THE SAME AXIS AS THAT SHOWN IN THE PLANTED GARDEN, BELOW. THE 
GRADE IN EXCAVATION WAS LOWERED EIGHTEEN FEET AT THE END OF THE 
GARDEN, THROUGH THE FORMATION OF THE “STERN AND ROCK-BOUND COAST” 
OF THE NORTH SHORE. THE ARBOR, AS SEEN BELOW, WAS USED AS A LOGICAL 
TERMINATION AND DISGUISE OF THE NECESSARILY AUSTERE RETAINING-WALL 


UNDERCLIFF 


AXIS OF THE GARDEN SEEN THROUGH ENTIRE LENGTH OF THE HOUSE, AND 
CENTRING ON THE BREAKFAST-ROOM TABLE (SEE AXIS A, PAGE 11). THE 
DROP IN LEVEL BETWEEN THE TERRACE AND THE GARDEN-TURF IS BUT 
SIX INCHES AND COVERED BY ONE STEP, BUT THIS GIVES A DISTINCT IM- 
PRESSION OF DEMARCATION BETWEEN THE GARDEN AND ITS SURROUNDINGS 


esenenscweesee 


UNDERCLIFF 
THE FORECOURT, PLANTED MAINLY WITH RHODODENDRONS AND THORNS 


THE HOUSE IS REACHED THROUGH THE NATURAL WOODED DRIVEWAY; ON THE 
OTHER SIDE LIES THE SEA. SEE PAGE 11, AXIS E 


ene OS as 7) 


UNDERCLIFF 


THE CENTRAL DOORWAY OF THE HOUSE, ON WHICH THE GARDEN’S AXIS WAS 


ESTABLISHED. TAKEN BEFORE PLANTING, FROM THE WOODED LAND AT THE 
BACK OF THE GARDEN SITE. SEE PAGE 11, AXIS A 


FERN HILL, BURLINGTON, VERMONT 


THE LINE OF AXIS IN AN OLD GARDEN, CUTTING THROUGH THE DENSE SHADE 
OF SPRUCES BETWEEN THE FLOWER GARDEN AND THE VEGETABLE PLANTINGS 
BEYOND. THE SPACE IN SHADE UNDER THE TREES IS LARGE ENOUGH TO MOVE 
ABOUT WITH EASE. IT HOLDS TWO SEMICIRCULAR SEATS. COMFORTABLY. THE 
FALLEN SPRUCE-NEEDLES ARE ALWAYS COOL UNDER ONE’S FEET AND THE 
BRILLIANCE OF THE FLOWERS SEEN FROM THIS SEMISHADE IS VERY RESTFUL 
AND CHARMING. FROM THE EXTREME END OF THE VEGETABLE GARDEN 
BEYOND, THE GLIMPSE OF COLOR SEEN THROUGH THE SPRUCES IS INTER- 
ESTING. THIS WAS MADE BY THE CAREFUL CUTTING OF BUT FOUR SPRUCE 
LIMBS, THE REST OF THE BRANCHES FORMING THE NATURAL ENCLOSURE 


MERCHISTON FARM 
THE TREATMENT OF AN INFORMAL APPROACH TO THE HOUSE 


MERCHISTON FARM 
THE SAME PATHWAY FROM THE OPPOSITE DIRECTION 


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-TERRACE TREATMENT IN RELATION TO AN IMPORTANT 
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ONE OF THE MINOR AXES OF THE GARDEN 


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THE USE OF THE HEDGE 


<a] Fal growth most nearly related to architecture. Indeed, 


f! f=) there is so very fine a line between their artificially pro- 


stey S} duced form and proportion and that of an architectural 
detail that practically they may be thought of as part of the general 
architectural scheme. It is the meeting-point of architecture and the 
green world — one of the instances where Nature, harnessed to civili- 
zation, does not lose in value, We might compare the hedge to the 
magic — though artificial —touch which transforms the great forest 
tree, with all its freedom of growth and beauty of line, into a splendidly 
wrought column, so full of proportion and dignity that the sisters of 
the forest, from which it came, might almost envy it. 

The hedge is essentially artificial in its original treatment and also in 
its preservation, and left untouched for a short period, goes back with 
amazing alacrity to the freer growth which the Lord intended. 

Let us begin with our low flower-bed borders, our box and our bar- 
berry, and think of them as hedges. They are the little ones, and they 
creep up in size to those which we look over — which are of enormous 
use — and to those which are higher than ourselves ; and then we begin to 
think of the stately hedges of box and holly in Scotland and England, 
and the wonderful yew and ilex hedges which we find in Italy —the 
backgrounds for the statues; the enclosures for the amphitheatres ; the 
protecting walls behind which romance and intrigue have been born and 


cardinals have walked. 


81 


THE SPIRIT OF THE GARDEN 


The hedge is no upstart; it has accentuated scenes of splendor from 
the earliest times of planting. It has lent itself as gracefully to the 
merrymakings of the maze as to the gardens of the Roman Emperors, 

The great note of all the famous villas of Italy —so wonderful in 
their outline and proportion that no flowers are needed to make them 
gardens — is the perfect harmony of idea between the architectural de- 
tails of steps, pools, and pathways and the walls formed by hedges, 

The use of the hedge is a very valuable asset which came into existence 
as civilization advanced to the point where man first grasped the idea of 
privacy and individuality about his home, In the very earliest records of 
gardens there are illustrations of the hedge in the quaintest perspective. 

The hedge is an accent, first and foremost, and its purpose is either a 
background or a barrier. Being artificial, it of necessity should be planted 
in relation to architecture—that term being used to denote the for- 
malities of garden or parterre arrangement as well as of the buildings 
proper. A hedge must have a purpose, just as much as a balustrade or 
a flight of steps; it must be in proportion to its environment, just as 
much as the house or its garden. It should be looked upon, where it is 
used as a background, purely as a flat surface against which the informal 
growth of flowers or the moving figures of people are accentuated. When 
considered in the larger scheme, where trees in the distance and the per- 
spective of diminishing lines are seen in relation to it, its own sharp out- 
line becomes an important factor, Therefore, two uses are found in the 
same hedge: in relation to smaller things it is a background, and in re- 
lation to larger things, an accent. When planted in front of old trees, the 
hedge makes in its contrast, in rigidity of form, a note so firm and con- 
trolled as to accentuate the freedom of growth in the trees. It lendsa 


note of variety while suggesting an important one in composition, 


82 


THE USE OF THE HEDGE 


Asa barrier, the hedge is of practical use and more pleasing to the eye 
than any other form of fencing. Its most important use is found when 
planted in front of the houses ona village street. It gives to the street it- 
self, as does nothing else, a style in composition ; and from the owner’s 
view within the grounds it makes the place seem larger and more im- 
portant by cutting off the highway as well as providing a background. 

When service-wings of houses lie in close proximity to the garden or 
terrace, and privacy must be secured though there is limited space, the 
hedge is of great advantage, asa strip of land from four to six feet wide 
is all that is needed to screen off that part of the house and to create a 
background for the terrace or the garden. 

In the plantings of gardens, clipped blocks of hedge may be introduced 
for the purpose of accent or contrast at the crossing of paths and sides of 
gateways, or other blocks as backgrounds for seats or fountains, Niches 
for the placing of statues are frequently found abroad cut into the surface 
of the hedge and are sometimes carried out in this country with marked 
success. In the bounding of terraces, where used alone or planted behind 
a balustrade, a hedge is always dignified, and an important note. 

There isa prevalent idea that hedges require great time and care in this 
country where very high wages are to be considered, but anyone who has 
had them knows that for what they lend in effect they take comparatively 
little time. If a hedge is well kept from the beginning, three to six clip- 
pings a year are all that are required for the most vigorous. We spend 
an infinitely greater proportion of time on vast extent of lawns, in re- 
lation to the amount of pleasure we derive from them, If there is to be 
any choice in the things which require labor, do without some unneces- 
sary areas of lawn which take weekly attention, and give a fraction of 
that labor to hedges. 

83 


THE SPIRIT OF THE GARDEN 


Climbing roses, if not allowed too much liberty in their growth, make 
a wonderfully lovely hedge when grown over some artificial support of 
the shape and height required. Hornbeam, cherry, dogwood, laburnum, 
arborvite, and dozens of other small trees lend themselves easily to being 
bent into the form of hedge-like arbors, and with so delightful an 
effect, that one wonders the charming sense of frolic and surprise is not 
more sought after by usall. Why are we so contented to pass from one 
scheme of arrangement to another through barren treatment, when it 
takes but a hedged-in walk to give us the sensation of a marked place- 
apart, and makes all the difference in the world in the overlapping in- 
terests to be gained by a bit of imagination? 

Is there nothing more to be desired in the formal approach to a garden 
than a gravel path, flanked with the neatly kept turf-edging of alawn? 
The path, it is true, is the only bare necessity ; but is that all we have to 
consider? Suppose the path is looked upon as but the backbone of the 
approach, and we add a broad hedge of great height on either hand, 
perhaps so planted that three to six feet of margin are left on each side 
of the pathway for shade-loving flowers? We thus create shadows, a 
mossy path, an invitation for birds, an increased sense of distance, a van- 
ishing point in perspective, an added lovable feature about our home; and 
the pathway has been made a romantic introduction of shade between 
two interesting open spaces. Children grown to men and women fifty 
years after will remember the spot with a glow of mystery and pleasure, 
whereas the barren, well-kept path would be quite forgotten. Ifa path- 
way for some reason should not be bordered by a high unbroken line of 
this kind, it can be flanked by regularly or irregularly planted shrubs, 
placed as far apart as desired. Cedars, dwarf fruits, thorns, or poplars all 
form beautiful path-margins of a broken formal type. In England I re- 

84 


THE USE OF THE HEDGE 


member a wonderful hedge on either side of a wide grass-path joining an 
artist’s studio, which was built on the edge of a little wooded piece of 
land, and his garden, which was by his house some distance away, The 
path lay in a graceful curve through a grain-field terminating at the 
studio door. The hedge was formed of sweetbriar rose, kept clipped to 
a rounded top, standing about four to five feet high. The perfume from 
the young shoots was pungent and delightful as one passed along the 
path, and the ripening grain, seen on either side of it, made a fine waving 
background for the bright green color and formal outline of the hedge. 

Clipped perpendicular walls of hedge can be made when a pathway 
should be introduced through tall swamp- or wild wooded-growth. By 
introducing a dense natural planting of high-bush blueberry, clethra, the 
various viburnums and thorns, wild roses, azaleas, barberry, and spice- 
bush, and by constantly cutting their growth to a true vertical line on 
each side of the path, a tall and interesting enclosure for a green walk 
can be formed ina few years, The constant pruning induces a vigor of 
growth on the face of the green wall which is very beautiful. A consis- 
tent choice of natural plants can in this way create a feature leading from 
one important point to another. The setting of a house, for instance, 
can—with no false introduction of planting —be connected with an 
equally architectural garden or tennis court, through a stretch of nat- 
ural woodland which demands some continuity of treatment. 

When entrances through hedges are to be cut in semicircular or 
“‘vaulted”’ arches, it is well to have a frame made of the desired shapeand 
have the hedge-opening cut by this frame year after year. Curved lines 
when left to the accuracy of the eye are not true, and the general outline 
suffers in consequence. Our old, much abused friend, the privet, is so in- 


expensive and so dependable that no one is left with an excuse for going 


85 


THE SPIRIT OF THE GARDEN 


without a hedge wherever one can be tucked in. Arborvite, buckthorn, 
hemlock, hornbeam, barberry, beech, and some of the viburnums are 
more to be desired when one’s choice aloneds to be considered, Nothing 
is more tranquil than the quality of green form which good hedge-prun- 
ing gives to a composition, and it is far better to have a thousand feet of 
privet than a few hundred feet of some rarer hedge. The composition 


comes first and the material used, second, in the importance of hedges. 


86 


BOBOLI GARDENS, FLORENCE 
GREEN WALLS FORMED BY CLIPPED SHRUBBERY 


OLDFIELDS 


HEDGE OF HEMLOCK AS A BACKGROUND WITH BOX EDGING USED ON GRASS 
PATHS. NOTE THE LACK OF ALL HARD TURF-TRIMMING BETWEEN IT AND 
BOX BORDER 


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BOUNDARY, INNER COURT, FORECOURT, AND SCREEN PLANTINGS 
NO. 1. ENTRANCE TO FORECOURT. SEE PAGE 49, AXIS A 


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HIGHWALL 


HEDGE TREATMENT ON EACH SIDE OF ENTRANCE DRIVE. HEDGE OF VIBURNUM 
DENTATUM. SEE PAGE 49, AXIS A 


HIGHWALL 


OPPOSITE SIDE OF DRIVE, AT TIME OF PLANTING STABLE AND GARAGE—THE 
ENTRANCE TO THE LATTER BEING ON THE STREET SIDE. SEE PAGE 49 


HIGHWALL 


AXIS FROM HOUSE DOOR THROUGH WALL TO FACE OF GARAGE, WHICH WAS USED 
AS A BACKGROUND. SEE ILLUSTRATION ABOVE, ALSO PAGE 49, AXIS B 


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HADRIAN’S VILLA, TIVOLI 


CROWHURST 


CROWHURST 


TWO ILLUSTRATIONS OF A FORMAL PLANTING OF ARBORVITZ USED IN THE 
GARDEN AND AGAIN INTRODUCED IN THE INTERIOR OF THE HALL, BRINGING 
THE FEELING OF THE GARDEN DIRECTLY INTO THE HOUSE 


MAUDESLEIGH 


TREATMENT OF DRIVEWAY APPROACHING HOUSE FLANKED BY ARBORVITZ. 
THE WIDE MARGIN ON EITHER SIDE—TURF TERMINATING IN A HEDGE LINE— 
GIVES A COMPOSITION TO THE DRIVEWAY ITSELF AND AT THE SAME TIME ACCEN-— 
TUATES THE FREER GROWTH OF THE TREES BEHIND IT 


MAUDESLEIGH 


FIVE ILLUSTRATIONS SHOWING ORIGINAL HILL ON WHICH, FOR VARIOUS REASONS, 
IT WAS BEST TO PLACE THE NEW GARDENS, WATER TOWER, AND GREENHOUSES 
EXISTING. THE HILL-PLANTING ABOUT THE GARDEN ENCLOSURE WAS MADE OF 
NATIVE TREES AND PLANTS AS DESCRIBED ON PAGE 173. THEIR GROWTH HAS 
EVENTUALLY OBLITERATED THE WATER TOWER FROM VIEW AND LENT THE 
OPPORTUNITY FOR A CLIPPED PERPENDICULAR WALL 

I. GARDEN WALLS BEGUN 


a 


—— 


MAUDESLEIGH 
II. SITE AFTER FIVE YEARS 


MAUDESLEIGH 


Ill. APPROACH TOWARD GARDEN ON AXIS TO GARDEN ENTRANCE, BEFORE 
PLANTING 


MAUDESLEIGH 


IV. TOWARD GARDEN ENTRANCE. ILLUSTRATES WALLED WALK OF NATURAL 
CLIPPED GROWTH FORMING THE CONNECTING FEATURE BETWEEN HOUSE AND 
GARDENS. SEE ILLUSTRATION V FOR SAME GATEWAY 


MAUDESLEIGH 
V. GATES AT EACH END OF THE CENTRAL PART OF THE UPPER GARDENS. GREEN- 
HOUSES BEYOND THE CLIPPED HEDGE 


MAUDESLEIGH 


EIGHT ILLUSTRATIONS SHOWING USE OF SALIX PENTANDRA HEDGE, PLANTED 
TO CUT OFF EXISTING GREENHOUSES FROM SITE OF GARDENS. OVAL CLIPPINGS 
IN GATEWAYS EMPLOYED AND A GREENHOUSE YARD CREATED. SEE PAGE 173. 
AFTER PASSING THROUGH THE ENTRANCE GRILLE-GATE (PAGE 98), THE LONG 
GARDEN-PATH TO THE OPPOSITE SIMILAR GATEWAY WAS OF NECESSITY CON- 
FRONTED BY THE GREENHOUSES, AT THE TIME THE GARDENS AND APPROACH 
WERE MADE 


I. DURING WORK 


II. FIRST PLANTING 


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IV 


THE COMPLETE SCREENING OF GREENHOUSES WHERE BUT EIGHTEEN INCHES OF 


PLANTING SPACE WERE GIVEN. SEE PAGES 83 AND 173 


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VII. ROSE GARDEN AT TIME OF PLANTING 


102 


MAUDESLEIGH 
VII. SAME AS NO. VII, WHEN MATURE 


103 


CRAIGIE HOUSE 


TWO ILLUSTRATIONS, BEFORE AND AFTER PLANTING, SHOWING THE USE OF 
THE TRELLIS FOR VERY RAPID EFFECT IN CUTTING OUT SOME OBJECTIONABLE 
FEATURE OR MAKING A GARDEN DEMARCATION WHERE NO SPACE COULD BE 
GIVEN TO THE GROWTH OF A HEDGE. THE OLD STABLE, USUALLY THE HAUNT 
OF NUMBERLESS PIGEONS, LENT INTEREST TO THE GARDEN WHEN SEEN IN 
PART ONLY. THE LATTICE USED IN THIS WAY SHOULD BE ENTIRELY COVERED 
BY GREEN, KEPT WELL-CLIPPED IN FORM. THE OPENING IN THE HEDGE-FENCE 
(SEE PAGE 105) WAS MADE OF THE ORIGINAL DOORFRAME TAKEN FROM THE 
HOUSE IN PORTLAND, MAINE, WHERE LONGFELLOW WAS BORN. THE DESIGN 
IN BOX EDGING WAS RESET IN ITS PERSIAN PATTERN EXACTLY AS THE POET: 
HAD ORIGINALLY DESIGNED IT WHEN THE GARDEN WAS ADDED TO CRAIGIE 


HOUSE BY HIM 


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105 


Photograph from M, E, Hewitt Studio, New York 


WELWYN 
THE IMPORTANCE OF THE GREEN ENCLOSURE OF A GARDEN 


106 


ws tee 


eo 


PEACOCKS AT WARWICK CASTLE, ENGLAND 


A REAR VIEW AND FRONT VIEW. THE BIRDS SEEMED TO KNOW HOW IMPOR- 
TANT THEY LOOKED AGAINST THE FINELY KEPT HEDGE, AS THEY LITERALLY 
“STOOD FOR THEIR PHOTOGRAPHS ” THE MOMENT THEY SAW THE CAMERA 


107 


VILLA D’ESTE 
PLANTING FORMING GREEN CLIPPED WALL 


108 


FONTAINEBLEAU 
HEDGE LINE IN TREE FORMATION 


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Photograph from M, E. Hewitt Studio, New York 


WELWYN 
THE USE OF PLENTY OF GREEN, ACCENTED WITH FLOWERS 


Li 


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“ARBO RS and an 
Tey (P=! 


IV 
ARBORS AND GATEWAYS 
HE arbor may be classed as of the same type of importance 


as the hedge — another link between architecture and the 


ee=3| green world —and be looked upon, when used in connec- 


SMG) tion with a hedge, as its gateway or doorway. This may be 
of a depth like that of the hedge or it may be repeated again and again to 
border the line of a long pathway, thus forming the pleached alley, 
which we rarely see in this country but frequently see abroad. It is the 
single arbor repeated at close plantings across a broad pathway, forming 
a long covered green walk of symmetry, and proportion, and often dense 
shade. This may easily become the most intimate and enchanting spot 
about a home, by bringing two otherwise unrelated features together, 
while it only requires the space of the pathway. 

There are enormous numbers of shrubs, vines, and trees which adapt 
themselves well to the purposes of the arbor and there are no end of ways 
that our small fruits can—by different treatment than is ordinarily 
used in their planting — be made to contribute formal, decorative features 
about the house and garden, and become a source of pleasure instead of 
ranking as merely utilitarian. To take grapes for example, asa vine: how 
often these are grown on rows of wire in the vegetable garden, when, if 
grown on an arbor adjoining the house, terrace, or gardens, the spot be- 
comes a definite feature in the effect and the pleasure derived from it. 
There is nothing lovelier than the young forming green fruit and leaves 


of grapes, with the sun shining through them, making patches of light 
Ths 


THE SPIRIT OF THE GARDEN 


and shadow on the pathway of brick or stone pavement below. The vines 
can be perfectly cared for from the practical aspect —in pruning, spray- 
ing, and picking — and the grapevines serve two purposes, 

Let us take the dwarf fruits, for another example, like apples, pears, 
cherries, and so forth, which can be made into delightful arbors. When 
grown in conformity with the necessary supports, they may be planted on 
each side of a pathway leading from a garden to achild’s playhouse ; from 
a terrace to a tennis Court ; or from any one of a thousand starting-points 
to some other spot which should be carefully connected, and thereby 
create a feature which isa real pleasure. The fruit is easily picked, and at 
the time of bloom the long arbor makes a world of beauty at the moment 
in spring when we are most alive to it. 

I once saw a very wonderful arbor of laburnum in England, running a 
great length on either side of a garden. The effect in perspective was 
charming, as the arbor was very wide. The trusses of yellow bloom hung 
down in a glory of color, The use of the laburnum would be possible 
here if not attempted too far north, but the same effect can be easily gained 
by white or purple wistaria. Flowering dogwood and hornbeam bend 
easily to conform to any inconspicuous frame which establishes the shape 
of an arbor, and in their growth completely hide the frame. An informal 
arbor is successful made of upright posts of natural wood (without the 
bark), and the overhanging beams made of rough old fence-rails, their 
uneven surface and gray color creating a remarkable background and 
complement for all the vines and their bloom. An arbor was made in 
this way on a little hillside adjoining our own very informal garden 
and some farm buildings. The pathway, dropping off constantly in 
grade, was relieved in its monotony by flat field-stones used at intervals 
as steps, and the arbor itself was constructed in marked levels as it 


116 


ARBORS AND GATEWAYS 


ascended the grade. The first stage of bareness was overcome by the 
use of annual gourds, which made so successful a covering the first year, 
that we watched the permanent growth develop almost with re- 
gret. Turkeys, perching there in the moonlight, looked like peacocks 
among the long green and yellow gourds which hung in profusion in 
their exquisitely formed annual growth. The other vines which ulti- 
mately covered the arbor were, however, planted, and by the next year 
war would have raged if the permanent growth had been encroached 
upon by the upstart annual — however beautiful the gourds may have 
proved themselves, The vines used as a cover are Dr. Van Fleet and Silver 
Moon rose, white wistaria, a touch of Akebza, and Vitis heterophylla with 
its turquoise-blue berry to give color in the early autumn. A few old 
woody vines of large blue grapes were moved to the arbor to lend a 
gnarled effect, though soon enough the great thorny runners of the Silver 
Moon rose gave ample growth of that nature. In one spot the Forsythia 
suspensa was so near — in the embankment-planting through which the 
arbor passes — that it has been allowed to climb up into the arbor and has 
proved a most delightful note of color in the early spring before the wis- 
taria blooms, its long limp growth falling down from the rafters. It sounds 
like a riot. It is, though, a pleasant one. The sides of the pathway under 
the arbor are bordered by Germaniris, Little gray bird-houses are fastened 
to the gray upright posts and suet is nailed to them all winter. The out- 
come is that now not only is there bloom throughout the season, but this 
gentle ascent in the semishade is restful and inviting, and the spot is filled 
with birds. The flowers in the garden below, seen from its shade, are 
interesting in contrast. One of the farm buildings, with casement win- 
dows and doorway opening into the arbor, lies at the far end, thus giv- 
ing another proof of the possibility of joining together two otherwise 


LiF 


THE SPIRIT OF THE GARDEN 


unrelated features, The transition between the personal part of our 
home and the farm part was in this way blended into a graceful change of 
environment without a jarring note; a rather difficult drop in grade was 
overcome ; and an excuse was made for the use of an arbor which other- 
wise might easily never have existed. 

Plants which lend themselves to arbors of this kind are Tecoma granat- 
fora, that gorgeous trumpet-flower so superior to the common variety ; 
various Climbing roses ; grapes, edible and non-edible ; bittersweet ; care- 
fully chosen varieties of clematis and Wzstaria Chinensts with not only 
its exquisite and fragrant bloom but its light-green velvety seed-pods, 
which are equally decorative. If any garden-planter does not know of 
the non-edible grape, the Vztzs heterophy//a — sometimes listed as Ampe- 
lopsis — with its small berries which are produced simultaneously in a 
range of colors in the same little bunch, let this inadequate description 
recommend its use. (This comes in a variegated leaf, which is ugly in 
comparison to the green-leaf variety and should be avoided.) The berries 
appearing late in the season are in clusters of turquoise-blue, purple, 
slate-gray, green, and speckled white. The leaf is exceedingly interesting 
in its deeply lobed outline, Though the growth is rampant, once it is 
established, it can be kept in control by the same method of very vig- 
orous pruning as that applied to ordinary grape-culture. A heavy cut- 
ting-back to within two buds of the old wood is necessary, and during 
the summer, if the long tendrils become too aggressive they can be 
pinched off at will. 

Great care should always be used to prevent the top growth of an arbor 
from ever becoming completely covered and matted in its overlapping 
growth, The interlacing branches with glimpses of sky and light be- 
tween are too important to be lost ; a thick mass of green leafage deprives 


118 


ARBORS AND GATEWAYS 


one of that translucent quality of color gained by light through the green 
leaves. On the other hand, the form and construction of the arbor itself, 
either in its uprights or its overhead beams, should never be lost by too 
unbroken a mass of foliage. Judicious pruning — even the annihilation 
of much good growth —is often very important, when it hides the 
columns or beams of an arbor too completely. 

The use of the “rustic”? cedar arbors and seats should be forever 
tabooed! Their incongruous ugliness is bad enough, and with its inci- 
dental slaughter of one of the most decorative and lovely of trees, 
which in living form can play so great a part in our gardens and their 
environment, should be looked upon by garden-makers with a frown. 
The rustic arbor belongs to the mid-Victorian age, marked by fashions 
—practically dead to-day — of geranium flower-beds, red salvia and 
canna plantings, and palms in jardiniéres, The vandal who still deals 
in the trunks of cedars for arbor-making and garden furniture marks 
a last remnant of that period which we may call the Slough of De- 
spond. He will eventually die out only through the lack of demand for 
his pilfered material. 

Various forms of upright columns in plaster, brick, wood, and stone 
lend themselves well to the support of plants and as a background for 
vines which should grow around them, Visible wires — which in some 
cases act as additional support — are incongruous, unless they are merely 
used to ensure proper aid until such time as the vine is old enough to 
have caught its growth well into the overhead beams and so have se- 
cured its own permanency. The uprights should never be too matted 
with vine for the best arbor-effect, for the outline of gnarled woody 
growth appearing against a column of gray stucco or mossy brick is 


finer than against a background of layers of its own growth, A column 


I1g 


THE SPIRIT OF THE GARDEN 


which is worth building is worth seeing, though on the other hand, it 
should never look crude and naked:by the vine growth being allowed 
to grow entirely on the top of the arbor. 

As with all entrances, the approach to an arbor may, by plantings, be 
led up to gradually if the best effect is to be made. To enter a long arbor 
abruptly reminds one of a train, as from the open it suddenly dashes into 
a tunnel; and to emerge in the same way — abruptly, with no setting 
about it —isa mistake. We see this too often, and it gives the arbor the 
appearance of being unrelated to its surroundings, and robbed of all 
rhythm in its arrangement, A flanking of green growth in shrub-mass- 
ing, formal cedars, or the horizontal branches of a spreading low tree, 
may break the austere beginning or end of an arbor. 

The pleached alley planted of privet makes a quick and very dense 
arbor-walk and, as at Sosiego, carried on each side of the long garden, 
makes a background for the flowers which looks like a hedge, pierced 
at the various axes of pathways by side openings. People appear and 
disappear from or into its shady vaulted enclosure, and the length of 
its planting is great enough to make its vanishing points at the ends 
brilliant spots of light and color. Moss collects on the trunks of the 
shrubs, and the path under its shade is of a bronze green and always 
damp. Though this arbor is of the commonest of plants, this one — of 
privet — has given no end of pleasure and has added a very important 
note to a garden which — in the truest sense of the use of a garden — 


was lived in daily for many years. 


120 


ITALY 
THE PLEACHED ALLEY OF LIVE OAK AT CASTELLO AND PETRAJA 


Pay 


UNDERCLIFF 


DETAIL OF ARBOR TREATMENT WHEN FULLY DEVELOPED. SEE PLAN, PAGE 11; 
ALSO PAGE 70 


UNDERCLIFF 


PATHWAY LEADING TO GRAPE ARBOR, WHICH SPANS THE GARDEN AT ITS END. 
SEE PLAN, PAGE 11; ALSO PAGE 70. BIRD BATH BY FRANCES GRIMES, SCULPTOR 


123 


UNDERCLIFF 


THE WALLED TERMINATION OF THE TERRACE, TREATED WITH ESPALIER FRUIT 
AND A CLOSED-DOOR GATEWAY 


SR: 


PALERMO, SICILY 
PLEACHED DRIVEWAY 


ROME 


AN INTERESTING OVERHEAD-ARCH TREATMENT OF CLIPPED LIVE-OAK TREES, 
FRAMING ST. PETER’S IN THE DISTANCE 


125 


62.0 


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126 


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AN ORNAMENTAL ITALIAN GRAPE-ARBOR 


127 


FRASCATI 
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128 


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FRASCATI 
AN ITALIAN GATEWAY 


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129 


MAUDESLEIGH 
DETAIL IN THE ROSE GARDEN 


130 


MAUDESLEIGH 
HALF OF THE SEMICIRCULAR ROSE-ARBOR AS THE TERMINATION OF THE ROSE 


GARDEN 


Ply (eat TES 


131 


MAUDESLEIGH 


IN THE UPPER FLOWER-GARDEN. DETAIL OF THE PERGOLA CONSTRUCTION 
BEFORE IT BECAME MORE DENSELY COVERED BY THE VINE (Actinidia arguta) 


ves F 7 at Be 


PH Am 
iJ 


MAUDESLEIGH 


A DETAIL OF WOODEN GARDEN-GATES, AFTERWARD REPLACED BY GRILLE 
GATES 


132 


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DETAIL IN TH 


MAUDESLEIGH 
UNDER THE PERGOLA IN THE UPPER GARDEN 


4 


Le 


SOSIEGO 


THE ARBOR OF NATURAL UNCUT LOCUST-WOOD CONSTRUCTION COVERED BY 
GRAPEVINES AND ROSES 


MAUDESLEIGH 
ONE OF THE GATEWAYS IN THE UPPER GARDEN 


134 


WHITEGATES FARM 


THE INTERSECTION OF TWO PATHWAYS JOINED BY AN ARBOR. THE UPRIGHTS 
OF PIPING (EVENTUALLY OBLITERATED) ARE USED ONLY AS A FRAME FOR THE 
VINES WHICH INTERLACE OVERHEAD 


a) 


SOSIEGO 
FROM AN OPENING IN THE PLEACHED ALLEY. SEE PAGE 120 


SOSIEGO 
THE GRAPE- AND ROSE-ARBOR 


PTE 


CROWHURST 
ARCHES OF ARBORVIT& ON BOTH SIDES OF THE POOL. SEE PAGE 84 


CROWHURST 


DETAIL SHOWING THE ARBORVITZ ARCHES IN CONSTRUCTION AND EARLY 
GROWTH. SMALL BENT PIPES WERE USED AS A SUPPORT IN ESTABLISHING THE 
FORM OF THE TREES, WHICH LATER WERE SEVERELY CLIPPED 


CROWHURST 
GATEWAY WHERE THE GARDEN JOINS THE NATURAL WOODED GROWTH OF 


GNARLED PINES AND NATIVE SHRUBS 


F 7 


CROWHURST 
A GARDEN GATE 


139 


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CROWHURST 
GATEWAY LEADING INTO FARM COURT | 4 


140 


AN ITALIAN GATEWAY 


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F ANNUAL GOURDS 


DETAIL O 


142 


MERCHISTON FARM 


LOOKING DOWN THE ARBOR, SHOWING THE OVERHEAD BEAMS OF NATURAL OLD 
POST-RAILS 


143 


MERCHISTON FARM 


THE SITE WHICH LENT ITSELF TO THE ARBOR, ILLUSTRATING THE ADVANTAGE 
TAKEN OF A NATURALLY UGLY CHANGE IN LEVELS. PHOTOGRAPH TAKEN FROM 
POIN TERSECTION OF AXIS D AND AXIS H. SEE PAGE 52 


Py ae 


MERCHISTON FARM 


USE OF AN ARCH IN BRINGING ICE-HOUSE AND DRYING-GROUND INTO RELATION 
WITH SERVICE END OF HOUSE. SEE AXIS B, PAGE 52 


144 


MERCHISTON FARM 
PATH INTO ARBOR AT SOUTH OF HOUSE ON AXIS D, SEE PLAN, PAGE 52 


ee 


MERCHISTON FARM 
IN THE INFORMAL GARDEN 


145 


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MERCHISTON FARM 
IN THE ARBOR IN ROSE TIME 


MERCHISTON FARM 
AFTER THE WHITE WISTARIA HAD BECOME ESTABLISHED 


MERCHISTON FARM 


THE ARBOR IN ITS FIRST YEAR, COVERED WITH GOURDS, TAKEN FROM ITS UPPER 
END WHERE IT “TIES” THE GARDEN BELOW INTO THE FARM BUILDINGS 


147 


+ itn eats seemin SOU Rema 


jee 


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A 


FRASCATI 
E GATEWAY OF ALDOBRANDINI 


{Ul 


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re 


oe 


Courtesy of Mrs. Robert Bacon, Westbury, Long Island 


TO TERMINATE A PATHWAY BY A WELL-PLANNED ARCH MAKES FOR A VALUABLE 
NOTE IN COMPOSITION. THE ARCH, HOWEVER, MUST ALWAYS BE INTRODUCED 


IN A WALL OR A HEDGE-LINE. A GATEWAY OR ARBOR IS AN OPENING, AND SHOULD 
BE RELATED TO ITS SETTING 


149 


EXAMPLE OF POOR ARBOR-CONCEPTION 


THE VINES SHOULD FORM THE TOP SHADE, THEIR SUPPORT BEING THE CROSS 
BEAMS, WHOSE ONLY REASON FOR EXISTING IS FOR THIS PURPOSE. TO CREATE 
A FALSE SHADE BY MEDIOCRE CARPENTRY AND THEN COVER IT, IS LIKE TRIM- 
MING A PARASOL, ALL TRUE RELATION BETWEEN THE USE OF THE ROSES AND 
THEIR SUPPORT IN THE FORMATION OF THE ARBOR BEING MISSED 


150 


A GRAPE ARBOR OF AMPLE WIDTH WHICH SPREADS OVER LILY- 
AND IRIS-PLANTINGS ON EITHER SIDE OF THE PATHWAY 


Tihit 


WELWYN 
DESCENDING INTO THE ARBOR 


152 


AN ARBOR OF LABURNUM IN ENGLAND 
SEE PAGE 116 


133 


CRAIGIE HOUSE 


COLONIAL MOTIVE IN ARBOR AND GATES, WITH LOCUST TREES, LARKSPUR, AND 
HUMMING BIRDS 


154 


CRAIGIE HOUSE 
THE ARBOR FROM THE GARDEN. SEE PAGES 156, 157 


bere) 


" CRAIGIE HOUSE 
LOOKING BACK FROM REAR OF PROPERTY THROUGH ARBOR TOWARD GARDEN 


CRAIGIE HOUSE 


FROM UNDER THE ARBOR, OUT INTO THE GARDEN AND LOOKING TOWARD THE 
HOUSE 


E, HOUSE 
ARDEN ARBOR THROUGH GATEWAY. THIS ARBOR SERVES THREE PURPOSES 


I 


. 


CRAI 


G 


FOR A GROUP OF PEOPLE TO 


E PICTURESQUE, BREAKING THE EFFECT 


ENOUGH 


ARGE 


(1) IT FORMS A SHADY SPOT WHICH IS L 


SIT IN; (2) IT MAKES THE LONG PATH MOR 


OF UNINTERESTING DISTAN 


FLAGE SCREENING A 


ATES A CAMOU 
E DIRECT REAR OF THE ARBOR. 


EFFECT 


Gell CRE 


’ 


CE; 


SEE 


NEIGHBOR’S BUILDING WHICH LIES AT TH 


PAGE 155 FOR THEIR RELATION 


IN 


FROM THE GARDEN TOWARD THE BACK OF CRAIGIE HOUSE 


Siz 


I 


RH. Reema 
KEANE 4¢ 


CRAIGIE HOUSE 


GATEWAYS TO THE GARDEN, THE COLONIAL MOTIVE BEING USED TO CONFORM 
TO THE OLD HOUSE? SEE (PAGE, 157 


HIGHWALL 


FROM THE PICKING-GARDEN OF FLOWERS THROUGH AN ARCHED LILAC HEDGE 
TO THE FIRST FORECOURT GATE. ACROSS THE FORECOURT IS SEEN ANOTHER 
GATE OPENING ON A TURF PATH EDGED BY HORNBEAM, WHICH WAS PLANTED TO 
FORM A PLEACHED ALLEY 

NOTE THE ADVANTAGE OF ONE SCHEME BEING FOLLOWED BY ANOTHER IN PRO- 
DUCING A SENSE OF DISTANCE IN A VERY SMALL AREA, SEE AXIS D, PAGE 49 


HIGHWALL 


A SECOND ILLUSTRATION, THE REVERSE OF ABOVE, SHOWING THE ADVANTAGE 
GAINED IN A MASS OF BLOOM IN THE PICKING-GARDEN, SEEN THROUGH TWO 
GATES, THE LILAC-HEDGE ARCH AND ACROSS THE FORECOURT 


OLDFIELDS 


A SLIGHT RISE OF TWO STEPS AND AN ARCH MAKE A DISTINCT DEMARCA- 
TION FOR THE LITTLE GARDEN BEYOND, WHICH IS ON A SMALLER SCALE 


160 


VILLA PALMIERI, FLORENCE 
AN ARBOR OF FRUIT TREES 


OLDFIELDS 


AN ARBOR,— NOT COMPLETELY COVERED AT THE TIME THE PHOTOGRAPH WAS 
TAKEN, — SHOWING ITS IMPORTANCE IN THE TERMINATION OF THE GARDEN 
WHILE, IN REALITY, THE LINE OF PATHWAY IS LEFT QUITE OPEN 


161 


PALERMO, SICILY 
IN AN OLD CLOISTER 


162 


ae 


us 


V 
GREENHOUSES 


RIVATE greenhouses, while the acme of all things de- 
A tr sirable to the gardener in charge, are — we will hope, in 


a the minds of those who are guided by beauty — the most 


| artificial and hopelessly ugly utilitarian blot that has per- 
force to be placed on an estate. While we may appreciate to the full 
the individual plant, beautifully grown and available at a period when 
flowering plants can only be grown artificially, we never really enjoy 
them until they are brought out of their forcing surroundings into the 
more personal setting of our homes; and yet this transference is in most 
cases disadvantageous to the bloom and to the general condition of the 
plant for future use. There are rare instances where the taste for the 
fresh green leaf and the blooming plant has been so blended with the 
true feeling for the fitness of environment that a greenhouse has been 
created to act as an enclosed space, where sunlight and summer air are, 
as it were, entrapped and held over through the bleak days of frost, 
and where the general sense of the conservatory — as we usually think 
of it — has been lost in the true beauty of a well-managed scheme and 
has filled and satisfied a genuine need through the winter months, 

I remember an old Georgian house in Virginia hee one of the two 
wings had been constructed as an orangery through which one passed 
to aroom beyond, This enclosure was architecturally beautiful — the in- 
terior walls being formed of stone, as was the exterior of the house —and 
lighted entirely from floor to ceiling by its glass-enclosed sides, There 
165 


THE SPIRIT OF THE GARDEN 


was no top light, but the unusual height of ceiling gave one a sense of air 
and atmosphere. The blue of the sky with its clouds and its storms, seen 
through the orange leaves, was quite visible through the height of the 
side glass. A certain ugly glare which comes through all glass-topped 
buildings was thus avoided, and with the passing hours the light, coming 
from one side and then the other, cast changing shadows on the cool 
stone floor. One of the blank walls held a beautiful wall-fountain which 
gave only the least suspicion of sound as it filled its semicircular basin. 
The orange and lemon trees were old and had never been pruned to any 
compact monotony of growth. Their branches stretched aloft and hori- 
zontally and one passed through them in many places, Anoeeienes 
mass of color was seen here and there, occuring spasmodically with the 
blooming of some plant. The predominating note was of green growth, 
luxuriant, succulent, seductively full of odor, and an unexpected bloom- 
ing branch, spray, or single flower lent an illusive flitting sense of co- 
quetry to the place. This introduction of bloom was at one season gained 
by unpruned single azalea plants—some free in growth and with high 
gnarled woody stems, others branching low and even spreading out on the 
stone floor in their undergrowth, Everything here was in tubs, as I re- 
member, and yet so delightfully arranged that there was very little sense 
of stilted artificiality. Perhaps many of the tubs were sunken; they 
might easily have been, but I cannot recall this feature, It is needless to 
tell what the fragrance was in passing through this enclosure and even in 
the adjoining rooms, when incessant orange buds were forming and the 
pungent fruit, if touched in passing, lent added variety in spiciness, 
Splendid opportunities are often lost for forming a transitional space 
between one room and another —as the approach to the dining-room 
or the living-room, or the library — by an enclosed loggia filled with 
166 


GREENHOUSES 


green, Where a change of atmosphere and of condition is so marked 
that it makes, as it were, a punctuation or an exclamation point in the 
architectural arrangement of a house that otherwise becomes monoto- 
nous in its lack of anything to break the housed-in feeling. Perhaps one 
reason why this is so seldom done is because it is not realized how easy 
the upkeep would be; how the ventilation and atmosphere need be dif- 
ferent only in its moisture from that of the rooms of the house, and how 
also the introduction of just such a spot constantly freshens the dryness of 
the atmosphere in the rooms on each side of it, Masses of large ferns or 
even an aisle of bay trees can be very easily arranged if the side lights 
are right, and with an attractive background formed by an enclosed 
colonnade, an introduction of this kind might be of great value, even 
if no further elaboration of plant growth were used. 

The most delightful greenhouse-treatment that I ever saw was on an 
old Colonial place in New England, where a detached conservatory lay 
a short distance from the house proper and was reached through a curved 
pleached walk of hornbeam leading from the side doorway of the house. 
In this large greenhouse every law — I imagine — of typical construction 
in shape, angles, and size had been disregarded at the time of its build- 
ing. The roof was glass in this case, the top light subdued, yet playing 
through the interlaced leafage of plant-growth which spread over one’s 
head. One suddenly stepped into a delicious, warm, fresh dampness of 
air, the silence broken by fairy sounds of insects and the twitter of birds, 
A perfume from the blooms and the changing glint of sunshine through 
the green lent so the sense of summer that the deep snow outside, in the 
northern winter, seemed impossible in contrast. 

I wish I might describe the impression that this never-to-be-forgotten 
spot left, this example of what a greenhouse can be — this one, which 


167 


THE SPIRIT) OF THE (GARDEN 


required comparatively small upkeep. I remember it as being at least 
fifty feet in diameter, round or octagonal in shape, the side glass not over 
nine feet in height and the roof rising slightly to a central peak, perhaps 
fourteen feet high at its centre. The ground, where not hidden by plants, 
was covered by little crunching pebbles. Comfortable and delightfully 
shaped chairs and tables were ready for one’s use. A water basin with a 
few pond lilies and water tulips lay in the centre, round in shape, but its 
edge was informally broken by ivy and a few jonquils, The plants were 
all growing from the soil itself. Cherokee roses unfurled their extraor- 
dinarily beautiful single white blooms from shoots on wood the size of 
one’s forearm, which stretched out in horizontal runners to twenty or 
thirty feet in side- and top-growth, The new twigs and young buds of 
the various plants stood out in the damp, warm air and birds flitted here 
and there among the branches. White jasmine, heliotrope, and orange 
trees vied with each other in their abundance of perfume. One allamanda 
plant stretched across the side and the top of this enclosure, making in 
its rampant growth and exquisite bloom the inspiration for a thousand 
designs in form and color. ‘The hum of bees pervaded the place, and one’s 
sense of tranquil leisure found a counterpart in the lazy, graceful move- 
ments of the goldfish in the pool. There was a bewitching and unexpect- 
ed confusion of different interlacing blooms, The enchanting formation 
of young leaves and tight buds made the bark of the old vines delightful 
in contrast — some of a grayish green, others of a cinnamon brown —and 
the reddish leaves of young rose-shoots combined to make marvelous 
color, The ground-covering of the planted space was very lush in its 
growth and unexpectedly ‘“‘tufty’’ with English ivy, which was evi- 
dently kept well pinched off where not needed. In other places this in- 
defatigable climber and traveler moused its way into dark, damp recesses 


168 


GREENHOUSES 


and then, after making delectable, full, soft growth in some neglected 
corner, struck up toward the light, growing greener and more transparent 
in its color, and so on up until some piece of framework or some branch- 
ing woody plant was found. When out of bounds, the gardener undoubt- 
edly restrained its reckless progress and brought it back to where it could 
do no mischief. Plants are so like children: so many of them climb 
everything that presents itself and stand in the same need of a gentle 
understanding hand which can restrain. To check their adventure too 
strenuously tears away a growth of individual development which may 
deprive the world of a wonderful expression of beauty, with children as 
with plants alike. 

A second doorway led from this round enclosure of bloom to a very 
long well-pruned vista of grapes in an adjoining greenhouse, springing, 
as did the other plants, from the natural grade —as the greenhouse held 
no commonly-found benches, The vines met overhead with a sym- 
metry of outline which came from years of well-considered and careful 
pruning. The arch was Gothic in form and exquisite in composition and 
color, seen in perspective from the doorway of the flowered space as well 
as at Closer range. 

In this enclosed New England ‘‘ winter garden,”’ as we might call it, 
there was a luxurious sense of aloofness in its beauty and its age. The 
place forbade your even thinking of modern life outside, which seemed 
by contrast very crude and lacking in margin. Values suddenly assumed 
different and new proportions of importance, and the goal of life was 
utterly transformed. 

On our way back to the house the snow lay white and deep outside, and 
the black branches of the hornbeam were like a Seymour Haden etching 
clean-cut in line against the snow. This must all be recalled, alas, as a 


169 


THE SPIRIT OF THE GARDEN 


distant memory, for the chance of going again to renew the delight of 
it all isforever gone. Like so much of its kind, it has been torn downand 
obliterated in the ‘“‘ march of improvement”’ by new owners. 

With a knowledge of the exquisite natural growth of our Azalea 
calendulacea of the South or our northern white Azalea viscosa or 
pinxter flower (Azalea nudiflora), it is incredible to think of the fashion 
that has crushed down upon this species of plant through pruning, when 
grown in hybrid form for commercial use. The freedom of branch, the 
grace of the woody twigs, and the exquisite texture of the young green 
shoots with the blooms poised like so many butterflies, should certainly 
defy the fashion of pinching back until a mass of color is produced which 
looks as if it were pasted over the almost leafless mushroom shape—which 
has as completely lost its semblance to an azalea plant as the bloom has 
lost its relationship to a flower. Our commercial growers have much to 
learn in the grace and picturesque quality of the free-growing azalea. 
W hen it is realized that the same old plants may be treasured by owners 
and made to rebloom each year with ever-increasing beauty and luxuri- 
ance, they will not find their way into the scrap heapas “‘ finished.” 

An experiment was once made of turning a great top-room in a city 
house into a breakfast-room and conservatory combined. The walls 
were heavily grown with Ficus repens, jasmine, and ivy. Two gay 
parrots lent a festive air to this light spot, and the simple bulbs — raised 
with little skill or trouble by all the children in the family — found 
their places here. It turned out to be a never-ending source of delight on 
winter days, and being high up, was cut off from the noise of the street 
below. It is extraordinary that greater use is not made of the top-space 
which is often available in good-sized city houses, The light is quite 
valuable for this purpose, and variety is made in the general home- 


170 


GREENHOUSES 


environment. Interesting tiles for walls and floors can be used; wall 
fountains can be easily introduced ; the great window-spaces not only 
provide fine high-lights but give far greater advantage in outlook to 
sky and distance than any other windows in the house, The glass, being 
made of many small leaded panes, becomes by no means an unimportant 
feature in the decoration. The heating may be arranged to be practically 
inconspicuous and is of easy control ina modern house. What a place, in 
the heart of a city, to have for the forced plants of almond and azalea, 
brought from the utilitarian greenhouse, to find themselves suddenly 
transformed, like Cinderella, in a beautiful setting, Calla lilies might 
bloom and besport themselves with characteristic grace and boldness, 
with blue water-hyacinths growing tranquilly at their base in the 
basins of the wall fountains. If one liked fuchsias, amazing espalier- 
effects could be made with old and trained plants, as with heliotrope and 
geraniums. These plants form great trusses of woody stems and increase 
in beauty as they grow older year by year. Nothing is more tragic than 
the annual waste of these plants. They are destroyed by the thousands in 
mere infancy ; only when “‘ grown up”’ do these plants show what they 
really can be in their characteristic growth. 

One delightful old gentleman that I knew, one of the rarest of people, 
loved nothing better than to walk between the benches of his green- 
houses, admiring the great masses of cinerarias, gloxinias, and primulas, 
But the satisfaction was incomplete, for he longed to bring the bloom 
up into his library. He wanted, however, more of it than the room could 
hold within reason, so one entire end of the room was converted — by a 
series of sliding doors made of very beautifully proportioned panes of 
glass — into an enclosed space beyond, which was completely filled with 


all the luxuriance and blaze of color that this old fower-lover could have 


171 


THE SPIRIT OF THE GARDEN 


packed into it. Hecould not get enough; he loved it in masses, as so 
many people do. He would stand for ten minutes at a time looking into 
a bank of primulas and yet turn away unsatisfied, witha sigh. Purples, 
magentas, gorgeous cyclamen colors, tulips in profusion, found their 
way into the lower spaces, and acacia, genista, and white oleander in 
great abundance towered into the air, intermingling their bloom with 
orchids which were introduced in any available spot. It was not in the 
least beautiful in composition, It was absolutely the product of his 
gardener’s skill and his own old-fashioned taste, The simplicity and 
sombreness in color of the book-filled room and the unbridled lavishness 
of the flower-filled space practically enclosed in it were a complete dis- 
closure of a most delightful contrast in the tastes of the owner. 

If a regular greenhouse must be had for purely utilitarian purposes, it 
should be borne in mind that it no more belongs in the public sight than 
a well-equipped flower-room or sewing-room is in evidence in the house, 
Many a beautiful and well-planned place has been ruined by the in- 
troduction of a greenhouse where it should not have been seen, On the 
very old places the choice of site often seems to have been much happier 
than on many modern places, for we are apt to find lean-to greenhouses 
placed against some high stone or brick wall. Perhaps these old ones are 
now less in evidence because time itself has slowly (and slyly) been grow- 
ing great pine-branches or other tree-forms across their outline, and the 
semiscreening, having once introduced itself, is not readily cut down; 
whereas on the new place the tree-planting with which one would like 
to screen a greenhouse from sight meets with every form of objection on 
the part of the gardener and owner, They clamor for absolutely unbroken 
light for the plants, but fail in the vision to see what this structure of 
glass does — in bad composition — to the effect of the whole scheme. 


172 


ie ee i ee 


GREENHOUSES 


Where a group of forcing-houses had in one instance to exist and a 
garden had to be planted in its immediate vicinity, a greenhouse fore- 
court was formed, bounded by a very high clipped hedge of Salix pen- 
tandra, the openings in it being clipped in vaulted shape where garden 
paths passed through. This hedge cut off the greenhouses completely 
from the garden, and the background formed by the hedge offered an 
extremely good termination for that end of the garden. A hedge of this 
description can be used as a screen without cutting off the necessary light 
from the greenhouses if it is placed some thirty to fifty feet away, thus 
forming a very valuable semishaded court between the hedge and the 
glass buildings, where winter-blooming plants find an ideal place to rest 
through the summer, Flowers in pots during their resting period, either 
sunk or on the surface, are easily cared for and give that charming note 
of summer potted confusion that one finds so commonly in the gardens 
of Franceand Italy. A court of this description may also be found useful 
in carting material to the gardens, if there is no other approach for 
this purpose, space being provided to havea cart turned and backed up 
at will. 

Spasmodic attempts at more bearable architectural lines have been 
made of late, and the planning of greenhouse entrances and better roof- 
treatment in some cases has been attempted; but architects must deal 
with this, as it is their province, and perhaps the future will not hold 
the problems in “ planting out,’ which to-day confront one with the 


usual greenhouse, 


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VI 
WATER IN THE GARDEN 


ATER in the planning of a garden plays as great a part, 
in its placing and use, as any other detail. Whether for 


its reflection or for its sound, to introduce water is to 


include the fantastic and the intangible, and a garden 
without it is robbed of poetry and romance, Its subtle effect upon us is 
far greater than we know in counteracting our sense of parching heat ; 
and we not only feast our eyes on the exquisite reflections and our ears 
on the varied sounds of its making, but are refreshed by the impression 
of its life-giving moisture. The reflections more than double the beauty 
of garden detail ; an ample pool with plenty of space about it both fulfills 
the opportunity for a perfect point in garden design and gives one the 
impression of starting anew with every path which may lead from it; 
whereas the same point in the garden, if planted to flowers or turf only, 
makes one feel each path leading from it is a monotonous repetition in 
planted space. 

Water pools in private gardens are almost always too small and too 
deep. Their margins should be simple in form, and the plantings made 
about them carefully trained in broken masses of woody plants and vines, 
Without any apparent study, just enough green growth may be in- 
troduced to sweep down and into the water and to cover the top of the 
coping to perhaps two thirds of its entire surface. To completely cover 
the margin of a pool is to create a monotonous wreath, Ifa coping hasa 


reason for existing, it has a reason for being seen, and it should be of a 


U7 Z 


THE SPIRIT OF THE GARDEN 


material which is improved not only by age but by moisture. Its inside 
edge may be so formed as to make a perfect shallow bathing-rim for birds 
which find no place to besport themselves in the rest of the pool on 


account of its depth : in this way great varieties of bird-life are enticed to 
the garden, 


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Since the reflection lendsso much, it is well to havea pool large enough 
to reflect the extreme height of a single spreading dogwood or mass of 
arborvite or high azaleas, which might be planted close to its edge. The 
reflection of a group of cedars, for example, brings a vertical line double 
the height of the trees into the composition and so relieves the monotony 
of the horizontal surface of water- and garden-level. How many times 
have we all seen naked garden-pools in centres of elaborate though 
monotonously planted gardens, and have felt that the pool suggested 
nothing more than a sunken tub only reflecting a patch of unbroken 
sky —a watery grave for toads, We often find an inferior fountain placed 
in its centre, making the one crude interruption in the garden’s lack of 
height in planting. 
Garden-makers of the Old World, especially in Spain and Italy, set us 
an extraordinary example in the importance of water. The long canals 
of the Spanish gardens — with their reflection of overhanging and inter- 


178 


WATER IN THE GARDEN 


laced green — need no reminder; in Italy again and again water finds its 
way, by a most systematic use, from the reservoir on the highest point of 
the property down through a series of water-features to the final dis- 
tribution, when it is used for irrigation in the drier areas below. The res- 
ervoir of the Villa Falconieri in Frascati, for instance, so generally 
known and so beautiful as a detail in itself, is but the high starting-point 
for a series of uses to which that water is put. Cascades fall from one level 
to another, and after flowing to basins where the water lies filled with 
lazy reflection, rise again in fountains below. It is utilized in various 
decorative ways and finally in irrigation, Part of the overflow is often 
piped in one direction for the house-supply, while the rest of the surplus 
water is used in quite another section of the property, or to form a 
swimming-pool, To make use of various levels, letting them play hand 
in hand with the frolic of running water, is like turning loose two con- 
genial spirits who create their own reason for existing in the most fasci- 
nating and playful of moods. We seldom use water in the profusion found 
in Italy, though we have it so often in great unharnessed abundance, In 
the variety of schemes where the same water may be utilized in its flow 
from level to level we have still much to learn and adopt from the ex- 
amples of the Old World. 

In informal gardens the introduction either of a stream of water or of a 
small pond is well worth considering. If an existing stream can possibly 
be used, it is well to introduce it in selecting the garden-site, even though 
some difficult and careful planting is necessary in relating its position to 
that of the house. It will pay in the long run to have one’s flower space 
include this natural flow of water, which will form the very centre of in- 
terest when it is developed, to say nothing of its benefit in irrigation. 


Parched and painfully stereotyped flower-gardens are often placed in the 
ao 


THE SPIRIT OF THE GARDEN 


uninviting glare of a clear, unbroken summer sky, when not many yards 
away runs a little stream which — if judiciously dammed in places and 
treated with careful planting and well-managed marginal effect — might 
have been the nucleus for the creation of an enchanting flower-enclosure, 
full of every condition of light, shade, and degree of moisture for various 
plants: a place, in fact, which would have been a pleasure and an in- 
spiration ; whereas the actual, existing garden, in conventional, unimagi- 
native relation to the house, lends no invitation to seedling, bird, or man! 

Having but a small stream of water, a pond of no mean size can be 
made in connection with one’s garden, and by the introduction of a few 
ducks, the pleasures derived from it are never-ending. The whole drama 
of fresh-water life which can exist in a small area is enacted here. This 
body of water draws into the scene of the garden many birds which one’s 
pond-less neighbor can never entice, and the Wagnerian undertone of 
insect life on a summer night is more than doubled. Ducks in themselves 
are quite harmless and make the most amazing pilgrimages about the 
turf paths and regions around the pond. Especially at dusk they march in 
single file in quest of food, reminding one of the inevitable picture-book 
of our youth which always said ‘‘ quack-quack, quack-quack ” in rhyme 
with “¢come-back, come-back.”” They seem to like paths in their pil- 
grimages as no other animal is considerate enough to do, and the gold- 
fish and frogs in the pond are very much more interesting to them as food 
than anything our gardens have to offer. 

Many times water is allowed to flow too silently. In the case of the 
overflow from some spring or reservoir, it is well to make an artificial in- 
terruption even if it is not seen, thus adding much in sound to the garden 
or terrace which may be in close proximity to it. If it can be seen, so 
much the better. 


180 


WATER IN THE GARDEN 


Special emphasis may be valuable in pointing out the unnecessary, hard 
margins we commonly see where small bodies of water, like streams or 
ponds, have been created as features of use or of decoration, Not only 
should there be planting of some height at advantageous positions, but a 
judicious massing of lower and spreading forms of shrubs which would 
clothe the edge in branches leaning well over and into the water. Clethra, 
benzoin, willows, flags, and azaleas belong to these natural margins, 
and a few pond lilies and some lotus which bring the effect of planting 
well out into the water. The latter are greedy plants and take full pos- 
session wherever they are allowed. ‘This should be guarded against or 
too great a proportion of the clear water surface will be covered. To 
prevent this, they may be planted in tubs or boxes in shallow ponds 
with natural bottoms or in cement pools. The earth can in this way 
be as rich as necessary and their spreading too much is prevented. 
When a pond is shallow only about its margins, there is no danger in 
planting lilies along portions of its banks in the natural bottom, for the 
depth of the water, if sufficient, will of itself check their wandering. 

Swimming-pools surrounded by poplars, with the reflection of finely 
shaped cement seats, might find their way into the proximity of gardens 
far more often than they do, It is not in the least necessary to associate the 
idea of the swimming-pool with the crude masonry tanks we usually find, 
devoid of every bit of beauty they might lend, either in themselves as re- 
flecting pools or as a setting for the children who bathe in them. Why 
should a swimming-pool lie entirely open to the sky when part of it 
might be in shadow? 

Many an owner whose property bordered on the Italian lakes has had 
his problem to meet in boat-landings, boat-houses, and approaches to the 
higher land surrounding the house proper, and in many Cases wonder- 


181 


THE SPIRIT OF THE GARDEN 


fully picturesque arrangements have been produced, The Villa Arconati 
or Balbianello, on Lake Como, boasts two landings, one for calm weather 
and another one, more protected, for rougher days and for the mooring of 
little boats. Roses in profusion mingle with the green of outstretching 
boughs on coping and balustrade, and are reflected in lavishness of color 
by the lapping waters beneath them. Interesting posts for lanterns and 
others for moorings are all exquisitely planned, and add new features to 
the harmony and reason of the utilitarian yet picturesque boat-landing. 
Everything is of one note: the combination of usefulness and luxury in- 
fluenced by a true understanding of the importance of beauty, which 
enters into the demands for the setting of daily life in so many of the 
Italian lake villas. 

Do we find this same note very often in the treatment of our water- 
fronts, where property is bordered by rivers or sheltered coves? We all 
know any number of crude and unimaginative approaches to boat-houses, 
Abrupt wooden steps and a cheap handrail are not uncommon approaches 
to boat-landings and bath-houses on many elaborately planned and impor- 
tant places, This incongruity of ugly bath-houses and makeshift landings 
is impossible to understand. Our water-fronts are rare where any really 
picturesque planning and architectural care have gone to their making, 
and yet no more exquisite natural sites are available the world over. The 
opportunities for creating delightful effects through combinations of ar- 
chitecture, judicious plantings, and water seem to have escaped many 
owners. Occasionally in well-planned camps these features are above the 
average, because the preponderance of shore-front growth in its native 
luxuriance defies crudity. It is on the more open river- and lake-fronts 
that more attention might be given and beautiful arrangements be 
gained, 


182 


WATER IN THE GARDEN 


The mere thought of water and its uses, esthetic and utilitarian, 
suggests unending schemes in one’s mind, and the many lost opportunities 
for its use are hard to forgive. ‘The arbor which holds no wall fountain, 
the vacant spots in gardens where bird baths might find their places, the 
swallows and the red-winged black birds that find no pond in which to dip 
at sundown, and the unbroken silence where falling water might be at all 
times heard — make one fairly cry aloud to wake the visionless owners to 


what might be theirs, 


IN CONCLUSION 


THERE is so much that might be said by an abler pen than mine, that, 
in closing, I realize each topic has been but lightly touched upon, play- 
ing mostly, as it were, on the high notes of imagination. 

Perhaps those who care, finding a keynote, will respond through their 
own vibrations with deeper reverberating tones, which shall produce a 
harmony of purpose for greater ends than I have been able to voice. 

This imagination of ours— the medium through which the creative 
works, with its undreamed-of heights and depths — is ever proving that 
it moves in waves, bringing to lifeagain and again the impulse and energy 
which have produced so much that is fine! 


“Beauty old, yet ever new, 
Eternal Voice and Inward Word.” 


VILLA ARCONATI OR BALBIANELLO ON LAKE COMO 


OPEN BOAT-LANDING ON THE LAKE EDGE, USED IN CALM WEATHER, 
SEE PAGE 182 


VILLA ARCONATI 


186 


VILLA ARCONATI, LAKE COMO 


TERRACE, SHOWING USE OF EXTREME EDGE OF PROPERTY OVERHANGING THE 
LAKE 


VILLA ARCONATI OR BALBIANELLO: LAKE COMO 
THE SHORE FORMATION OUTSIDE THE LITTLE HARBOR SHOWN BELOW 


THE PROTECTED LANDING. SEE PAGE 182 


188 


HEADLANDS 


ER GARDEN AND LAKE CHAMPLAIN 


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ARDEN POOL : SHOWING IMPORTANCE OF INCIDENTAL PLANTING ABOUT POOL- 
MARGIN, TO RELIEVE HARD LINE OF COPING 


CROWHURST 
THE SEA IN RELATION TO THE GARDEN FLOWERS HIGH ABOVE IT 


192 


CROWHURST 
ILLUSTRATING THE ADVANTAGE OF LEAVING ADEQUATE CLEAR WATER-SUR- 


FACE, WHEN LILIES ARE PLANTED IN GARDEN POOLS. THE REFLECTIONS OF 
THE PINES BEYOND WOULD BE LOST IF THIS POINT HAD NOT BEEN OBSERVED 


CROWHURST 
THE GARDEN AND SEA BEYOND, FROM AN UPPER WINDOW 


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MERCHISTON FARM 


THE POND, A PLAYGROUND FOR DUCKS AND CHILDREN, TAKEN SEVEN YEARS 
AFTER PLANTING. SEE PAGE 180 


194 


MERCHISTON FARM 
THE POND, SEEN FROM THE FLOWER GARDEN 


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MERCHISTON FARM 
THE POND, EIGHT YEARS AFTER PLANTING. SEE AXIS H ON PLAN, PAGE 52 


MERCHISTON FARM 
SITE OF THE POND WHEN FIRST MADE, BEFORE ANY PLANTING OF IMPORTANCE 
HAD BEEN ADDED TO ITS HARD MARGINS. SEE PAGE 194 


MERCHISTON FARM 
THE POND THREE YEARS AFTER PLANTING. WILLOW CUTTINGS WERE RUN INTO 


THE SOFT BANKS AND ROOTED QUICKLY, FORMING A FINE NATURAL GROWTH. 
CLETHRA, IRIS PSEUDACORUS, GERMAN IRIS, AND BENZOIN (OR SPICE BUSH) 


ALSO ARE USED NEAR THE MARGIN 
LOZ, 


UNDERCLIFF 


THE HOUSE-TERRACE AND THE SEA BROUGHT TOGETHER BY CAREFUL ELIM- 
INATION OF MANY TREES, LEAVING JUST ENOUGH FOREGROUND TO GIVE THE 
PROPER BALANCE AND COMPOSITION. SEE AXIS B, PAGE 11 


“ss et anced eens eis OO cane 


UNDERCLIFF 
A STONE BATH-HOUSE BUILT OF THE NATIVE ROCK. THE SUBSTANTIAL WOODEN 


LATTICE OVER THE ROOF WAS BUILT TO HOLD WILD GRAPEVINES, MAKING THE 


INTRODUCTION OF THE BUILDING PRACTICALLY INCONSPICUOUS FROM THE 
LEVELS ABOVE AND FROM THE WATER 


UNDERCLIFF 


LOOKING STRAIGHT OUT TO SEA FROM ITS WOODLAND SETTING 
SEE AXIS C, PAGE 11 
(THE LATE HERBERT D. HALE, ARCHITECT) 


Ne) 


WELWYN . 
THE GARDEN REFLECTIONS IN THE POOL 


WELWYN 
IN THE GARDEN 


200 


WELWYN 
THE GARDEN POOL 


WELWYN 


THE GARDEN POOL. THE DIAL MARKS AN IMPORTANT MAJOR-AXIS AND THE 
REFLECTIONS DOUBLE THE VERTICAL LINES OF TREES 


ZO 


MAUDESLEIGH 
AN OLD ITALIAN WALL-FOUNTAIN IN THE GARDEN 


LOST OPPORTUNITY FOR BEAUTIFUL TREATMENT OF APPROACH 


TO THE OCEAN AND OF SETTING FOR A GOOD BATH-HOUSE 
SEE PAGE 182 


202 


A PICTURESQUE GROWTH OF TREES WHICH EVENTUALLY EM- 
BELLISHED A FLIGHT OF STONE STEPS LEADING TO A BOAT PIER 


TYPICAL OF MANY BATH-HOUSES AND BOAT-LANDINGS ON 
PRIVATE ESTATES OF IMPORTANCE 


203 


OLDFIELDS 


PLANTING OF THE POOL-MARGIN, PARTIALLY COVERED WITH VINES AND 
AZALEAS, BRINGING THE COPING AND WATER TOGETHER 


204 


OLDFIELDS 
ERHANGING TH 


E POOL-MARGIN 


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205 


OLDFIELDS 


OF THE POOL BEFORE IT HAD BEEN SUFFICIENTLY 
PLANTED OUT 


OLDFIELDS 


THE LITTLE GREEN GARDEN IN AN ANGLE OF THE HOUSE, SEEN FROM THE 
GARDEN OF LARGER SCALE 


206 


se abar eta 

po Sas Syee 8 2 
Ring te cyst 

eS ie 


Ps 


ey “a aby 


OLDFIELDS 


207 


By permission of Mrs. Albert Herter, Easthampton, Long Island 


TAKING ADVANTAGE OF A WATERFRONT AS A SITE FOR HOUSE, 
GARDEN, BOAT-HOUSE, AND LANDING COMBINED AS A UNIT 


208 


VILLA PALMIERI, NEAR FLORENCE 
USE OF WATER IN INNER COURT 


209 


VILLA PALMIERI 
THE PAVILION OVERHANGING THE SWIMMING-POOL 


210 


VILLA PALMIERI 
SWIMMING POOL 


Zit 


VILLA CONTI, FRASCATI 


THE ELABORATE WATER-CASCADE FORMS THE MAIN FEATURE OF AN IM- 
PORTANT AXIS, SEEN ACROSS THE FORECOURT THROUGH A VISTA OF LIVE OAKS 


212 


VILLA CONTI, FRASCATI 


THE WATER SEEN FROM THE TERRACE ABOVE THE FORECOURT, AS IT RISES 
AGAIN IN FOUNTAINS BELOW 


213 


VILLA FALCONIERI, FRASCATI 


THE DECORATIVE FEATURE MADE IN THE WALL OF THE RESERVOIR DAM 
AS SEEN FROM BELOW 


214 


VILLA FALCONIERI, FRASCATI 
THE DAM FROM THE RESERVOIR 


215 


VILLA FALCONIERI, FRASCATI 


THE RESERVOIR, THE HIGHEST POINT, FROM WHICH THE WATER FLOWS TO 
LOWER LEVELS, SEE PAGE 179 


206 


INDIAN NECK 


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217 


A GARDEN IN GRANADA 


Sane 


HAMPTON COURT 


THE VALUE OF AXIS IN BRINGING THE VISTAS OF GREEN INTO RELATION WITH 
WATER AND BUILDINGS 


218 


ene 


es a a os 
= 


HAMPTON COURT 


NEARER DETAIL, SHOWING TREATMENT IN BOTH DIRECTIONS, IN SPACE 
BETWEEN FOUNTAIN AND PALACE 


HAMPTON COURT 
FOUNTAIN AS SEEN THROUGH IMPORTANT DOORWAY 


"eye a Sa A I ann EN ae nee Rte on he epee le ae ie iia ed oa Se Oo oN oe du 


219 


SOSIEGO 


POND ON THE ESTATE OF MRS. DANIEL LORD, LAWRENCE, LONG ISLAND, MADE 
ARTIFICIALLY SOME FORTY YEARS AGO 


SOSIEGO 


ANOTHER VIEW OF THE POND, WITH ITS BEAUTY IN REFLECTED WEEPING 
WILLOWS 


GUY’S CLIFF, NEAR WARWICK, ENGLAND 
NEAR ENOUGH TO THE RIVER TO USE THE VALUE OF ITS REFLECTING SURFACE 


A LONG CURVED WALK ON THE SHORE OF MASSACHUSETTS, PLANTED WITH 
FLOWERS, SHRUBS, AND TREES THAT ARE UNHURT BY SALT-WATER EXPOSURE 


Pe a a ern ol 


a2i 


Wie 
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312 


GETTY CENTER LIBRARY 
3 


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